JANUARY • 1955
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
/0 This issue • • •
• THE BIG SWITCH IS TO TV!
• TECHNICAL PROGRESS IN 1954
• TRI-X IN FEATURE FILM PRODUCTION
25c
$3.00 YEARLY
Joe Dougherty, Du Pont Technical
Representative (left) discusses “Superior”
2 and the Mitchell Camera with Burgi
Contner (right), operating cameraman
Eddie Hyland and assistant cameraman
George Wellstead.
^1 Getting ready to shoot on the “Janet
Dean — Registered Nurse" set. That’s
Burgi Contner taking a meter reading
as Ella Raines, the show’s star, prepares
for the shooting.
- • a
“Thanks to the extreme flexibility of Du Pont ‘Superior’ 2, we get
HOLLYWOOD QUALITY EVEN ON TV SCHEDULES!”
says J. Burgi Contner, A.S.C.
“Everything happens fast in tele¬
vision,” says J. Burgi Contner,
Director of Photography on the
popular Cornwall Production series
“Janet Dean— Registered Nurse,”
starring Ella Raines and filmed in
New York. “And even Hollywood
directors sometimes ask how we
can get such high quality and still
keep up with TV’s rigid produc¬
tion schedules.
“That’s where Du Pont ‘Superior'
2 comes in,” continues Mr. Contner.
“While we seldom have time to fool
around filling in minute shadows,
‘Superior’ 2 allows us to record
delicate gradations throughout the
entire scale. Its superior gradation
and latitude— particularly in the
toe portion of the curve— take the
guesswork and fine calculations
out of our operation. You just can’t
beat ‘Superior’ 2 for fine gray¬
scale rendition.”
Take a tip from Burgi. Shoot
your next production on flexible
Du Pont Type 926 “Superior” 2.
It’s fast, yet offers wide latitude
and smooth gradation under the
toughest lighting conditions. E. I.
du Pont de Nemours & Co. (Inc.),
Photo Products Department, Wil¬
mington 98, Delaware. In Canada:
Du Pont Company of Canada
Limited, Montreal.
District Offices
ATLANTA 5, GA. 805 Peachtree Bldg.
BOSTON 1 0, MASS. 1 40 Federal Street
CHICAGO 18, ILL. 3289 N. California Ave.
CLEVELAND 14, OHIO 1033 Union Commerce Bldg.
DALLAS 7, TEXAS 1628 Oak Lawn Street
LOS ANGELES 38, CALIF.
7051 Santa Monica Blvd.
NEW YORK 1 1 , N. Y. 248 West 1 8th Street
PHILADELPHIA 2, PA. 225 South 15th Street
SPECIFY D0 PONT
FILM
SALES • SERVICE
THE WORLD'S MOST COMPLETE ASSORTMENT
OF PHOTOGRAPHIC EQUIPMENT FOR
T \l. oruL M&fott Pictun® SWiM-
New PROFESSIONAL JUNIOR
Adjustable wood BABY TRIPOD
■for Prof. Jr. friction
PACKAGED LIGHTING WITH
studio lighting in a suitcase
FAMOUS
‘‘controlled
action”
SMALL GYRO
i TRIPOD
Has substantial shoe and spur.
Measures from floor to flange
25" extended — 1 7
collapsed
Two speeds — slow and fast Sfek
— for both panning and tilting.
Helps you capture fine scenic views
and fast-moving sports events. Espe¬
cially recommended for 16mm Mitchell.
16mm Maurer, B & H Eyemo
and similar cameras.
Imagine being able to use two 5000 watt units
on a 30 amp. fuse — COLOR-TRAN will do it!
Kit contains 2 light heads, 2 Superior stands and
proper size COLOR-TRAN converter to match.
Packed in compact case.
Senior Kit
Other style
kits available.
Write for COLOR-TRAN Catalogue
presto-splicer
GIVES PERMANENT SPLICE
IN 1© SECONDS!
ELECTRIC
FOOTAGE TIMER
STOP MOTION MOTOR
FOR CINE KODAK SPECIAL
GRISWOLD
HOT FILM SPLICER
Dual model for both 16mm
and 35mm. Large white num¬
erals on black background. Accu¬
rate reset dial. Switch controlled
by operator, who selects either
16mm operating at 36 feet per
minute — or 35mm operating at
90 feet per minute ... or both
in synchronization. 495
Runs forward or reverse, 110
AC synchronous motor with frame
counter. May be run continuously
or for single frames. Camera
mounts without special tools.
Model R-2 for 35mm silent and sound
film. Precision construction makes it easy
to get a clean, square splice with accur¬
ate hole spacing. Nothing to get out of
order. <A5
Especially good for splicing magnetic
film. Butt Weld type for non-perforated
or perforated film. 16mm, 35mm or
70mm. <547 jm
Also available — Stop Motion
Motors for 16mm — 35mm B & H,
Mitchell and other professional
cameras.
Single model, either 16mm or
35mm <45
Also Bell & Howell 8mm, 16mm and
35mm Hot Splicers and B & H Labora¬
tory model Foot Splicer.
16mm or 35mm model:
for perforated film.
*9. 5mm Lenses in 16mm C mount. 18.5mm (extreme wide angle-flat field)
Lenses available in mounts for all 35 mm Motion Picture Cameras.
* PHOTO RESEARCH Color Temperature Meters. ‘Electric Footage Timers
‘Neumade and Hollywood Film Company cutting room equipment.
•Griswold & B.&H. Hot Splicers. ‘DOLLIES — Bardwell-McAlister, Mole
Richardson, Century and Colortran Lighting Equipment.
FRANK C. ZUCKER
(TnnteRH CouipmcitT
1600 BROADlUfly \ n€UJ yORK CITS
o.
Complete line of 16mm and 35mm Cameras
create
sm
DM
. . . our
sincere
gratitude
and
appreciation
CONSOLIDATED
FILM
INDUSTRIES
959 Seward St., Hollywood 38, Calif.
1740 Broadway, New York 19, N. Y.
whose
intelligent
demand
AMERICAN
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
PUBLICATION OF THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
|||||Illllllllllllllllllll|U|||||||||||||||||||||||||||||||lllll|||||||||||||||||||||llliillUIIIIIIIIIIIIII!IIIIIIIIIIIIIIII
Arthur E. Gavin. Editor
Marion Hutchins. Editorial Assistant E.mery Huse, Technical Editor
Editorial Advisory Board: John Arnold. Arthur Edeson. Lee Garmes, Charles
Rosher, Leon Shamroy, Fred Gage, Glenn R. Kershner
Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Calif.
Telephone: HOIlywood 7-2135
VOL 36 JANUARY • 1955 NO. 1
In This Issue
ARTICLES
Technical Progress in 1954 — By Arthur E. Garin . 24
The Big Switch Is to TV! — By Frederick Foster . 26
Adapting the Zoomar Lens to the Auricon-Pro — By John Hoke - - 28
Low-Budget Training Film Production — By Arthur H. Smith 30
Tri-X in Feature Film Production — By Stanley Cortez, A.S.C. 33
Movies Without a Camera — By Harold Benson . 34
Travelogues Offer Filming Challenge— By Charles W. Herbert. A.S.C. - 36
FEATURES
Hollywood Bulletin Board . 6
What’s New in Equipment. Accessories, Services . 10
Industry News . 16
Booklets, Catalogs and Brochures . 22
Hollywood Studio Production . 46
ON THE COVER
GREENWICH VILLAGE IN HOLLYWOOD — A Columbia Pictures’ crew
sets a Greenwich Village scene on a sound stage, with Janet Leigh and
Bob Fosse as performers, for Columbia's musical version of “My Sister
Eileen,” the CinemaScope and Technicolor photography for which was
directed by Charles “Buddy” Lawton, Jr., A.S.C. Here may be seen some
of the interesting technical equipment used in filming a scene of this kind
indoors on the sound stage. — Photo by Gereghty.
plllllllllllllilllillllllllllHIIIIIIIIIIIIIHIIIIIIIIIIIIIIIIIIIIIIIIHIffl
g AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. jS
m C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. Entered as second class matter g
g Nov. 18, 1937, at the postoffice at Los Angeles, Calif., under act of March 3, 187V. SUB- g
m SCRIPTIONS: United States and Canada, $3.00 per year; Foreign, including Pan-American g
H Union, $4.00 per year. Single copies, 25 cents; back numbers, 30 cents; foreign single g
g copies, 35 cents; back numbers 40 cents. Advertising rates on application. Copyright 1954 g
g bv A. S. C. Agency, Inc.
llllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllim
IMPORTANT ANNOUNCEMENT
. . . with this announcement
the Mitchell
Camera Corporation,
for the first time
in history,
now offers you
shipment of the
re
: the
16mm Professional Camera
IMMEDIATE SHIP ME
are currently
being made
famed Mitchell 16mm
THE CAMERA WITH A HERITAGE
There is no substitute for a heritage
of creat engineering. No 16mm motion picture camera
made anywhere in the world can match
the technical perfection which a Mitchell 16
brings to your film. Each 16mm camera has the same
supreme custom workmanship and Mitchell’s
exclusive, positive operation that is today world-famous
. . . wherever truly professional films are made.
Professional Camera
on receipt
of your order.
666 West Harvard Street • Glendale 4, Calif. • Cable Address: "MITCAMCO"
85% of the professional motion pictures shown throughout the world are filmed with a Mitchell
ONE CAMERA
16mm or 35mm
in 10 SECONDS!
Cameretie»35
Reflex Motion Picture Camera
The perfect camera for the motion picture film
maker working in both 16mm or 35mm color
or black and white.
LOOK AT THESE ADVANTAGES —
• The same lenses, same motor drives, same
sound blimp and accessory equipment used
for both 16mm or 35mm — to convert simply
change the magazine.
• Precise rugged movement
• Reflex viewing
• 200 degree adjustable shutter
• Divergent three lens turret
• Automatic film gate 400' magazines 1 6 or
35mm — the 1 6mm magazine will accom¬
modate daylight spools as well as standard
core load.
• Light weight — only 14 pounds with 3
lenses, 400' magazine, and 6/8 volt motor.
Write for brochure
amerette
patents coutant-mathot
Manufactured by Ets. Cine. Eclair, Paris
Hollywood
Bulletin Beard
WARNER BROTHERS’ “Battle Cry” company is seen here on location on Vieques Island,
Puerto Rico, where CinemaScope cameras under the direction of cinematographer Sid
Hickox, A.S.C., recorded mighty spectacle of the Guadalcanal invasion.
Joseph Brun, A.S.C., reports from
overseas that he is presently in Ger¬
many directing the photography of
“Special Delivery,” a Rathvon-Schul-
berg-DeGoldschmidt production star¬
ring Joseph Cotten and Eva Bartok.
Picture is being shot in two versions —
English and German.
★
Thomas Tutwiler, A.S.C., returned
from Venezuela last month where he
directed the photography of a feature-
length film in Eastman Color for and
with Coronel Marcos Perez Jiminez,
Presidente of Venezuela. Production is
a progress report on the accomplish¬
ments of the Jiminez regime during
past two years.
★
John Dored, A.S.C., one of the Soci¬
ety’s pioneer members, died September
22 in Norway, where he had resided
since his retirement from active photo¬
graphy a year ago. One of the most
colorful of newsreel cameramen, Dored
had earned a reputation for always
coming through whenever given the
“impossible” assignment.
★
Correction — A1 Lane, who appeared in
the photo on page 626 of our Decem¬
ber issue and was erroneously identi¬
fied as an “MGM set electrician,” is
actually an operative cameraman and
has been working recently as operator
with director of photography A1 Gilks,
A.S.C., who shoots the “Halls of Ivy”
TV film series.
★
Ted McCord, A.S.C., who recently
signed a new term contract with
V arner Brothers studio in Hollywood,
drew "East of Eden as his first assign¬
ment. Picture marked his first venture
in color and CinemaScope. He is
presently shooting second unit on “The
McConnell Story” for Warner Brothers.
John Seitz, A.S.C., is directing the
photography on first unit.
★
George Folsey, A.S.C., holds the dis¬
tinction of having three of his top
M-G-M pictures, photographed last
year, exhibited in the Music Hall, New
York City. They include “Executive
Suite,” “Seven Brides for Seven
Brothers,” and “Deep In My Heart.”
He recently completed “Hit The Deck,”
and started shooting “The Cobweb,”
another M-G-M production, in mid-
December.
★
Sol Halprin, A.S.C., and Ted McCord,
A.S.C., have been named on this year’s
Scientific and Technical Awards Com¬
mittee of the Academy of Motion
Picture Arts and Sciences.
WILLIAM SKALL, A.S.C., who directed the pho¬
tography of Warner Brothers’ “The Silver
Chalice,” gives Jack Palance’s makeup a final
check before the CinemaScope camera starts to
roll on this unique color production produced
by Victor Saville.
6
American Cinematographer
January, 1955
been waiting for
clear,
alive !
“Life-like color/’’ the ultimate
in the reproduction of color film, is now available
to all producers of 16mm motion pictures.
Now you can have your exposed film duplicated
with perfect blending and balancing of tones.
Your release prints will have a sensitive living
quality ... surpassing anything you have ever seen
in clarity.
This is "Life-Like Color” the result of fifteen
years of exhaustive research by the country’s
outstanding color engineers and technicians. It is now
available to you exclusively through the
laboratories of Telefilm Studios.
With "Life-Like Color” Telefilm Studios again
contributes to its primary objective ... to help
the 16mm producer make better motion pictures.
Telefilm’s modern facilities and equipment for
color printing . . . high fidelity sound recording ( your
choice of optical or electronic sound printing) ...
editing . . . titling . . . special effects . . . and the
skill and the know-how of the finest technicians in
the industry are at your command.
for complete information, visit Telefilm Studios,
or write for a descriptive brochure.
estab. 1938
60 3 9 HOLLYWOOD BLVD. • HOLLYWOOD, CALIF
telephone HOllywood 9-7205
Motion Picture & TV Film Production
Rentals
Sales
Service
EQUIPMENT!
Repairs
Engineering
Manufacturing
th ANNIVERSARY SALE
1000 ONLY
NEW
1 6mm
REELS
TOP
QUALITY STEEL
Size
1-11
1 1-24
25
400
ft.
.39
.37
.23
600
ft.
1.23
1.13
1.00
800
ft.
1.73
1.38
1.23
1200
ft.
2.22
1.57
1.42
1600
ft.
2.71
1.76
1.56
2000
ft.
3.65
3.15
2.90
16mm STEEL
CANS
400
ft.
.37
.33
.29
600
ft.
1.08
1.03
.90
800
ft.
1.48
1.18
.98
1200
ft.
1.97
1.72
1.52
1600
ft.
2.38
2.06
1.86
2000
ft.
2.85
2.45
2.20
1 ONLY
BOLEX H-l 6
CAMERA
ext. frame counter
3 lenses
Reg. Price SALE
$395.00 $210.00
6 ONLY
ECCO APPLICATOR KITS
for cleaning, conditioning
and anti-static treatment
of films.
Including ECCO applicator and
1 qt. ECCO 1500 fluid.
Reg. Price SALE
$32.00 $25.50
2 ONLY
DUAL 1 6/ 35mm ELECTRIC
SYNCHRONOUS FILM FOOTAGE
COUNTERS
2 sync motors, 2 Veeder
counters, sync & line
switches
Reg. Price SALE
$150.00 $84.50
1 ONLY
MAURER — 16MM RECORDER
Model D — rack and panel. New
"G" prime galvo.
Guaranteed perfect.
Value SALE
$6000.00 $1995.00
1 ONLY
CONTINUOUS 16mm PROJECTOR
MOVIEMITE SOUND
400 ft. capacity
fully automatic
Reg. Price SALE
$450.00 $185.00
30 ONLY
BARDWELL McALISTER
STRIP QUADLITE
Heavy duty . . . holds 4
lamps
Excellent with
Colortrans
Reg. Price SALE
$45.00 $6.95
30 ONLY
MONOCHROMATIC
VIEWING
FILTERS
Reg. Price SALE
$3.75 $2.99
1 ONLY
CINEVOICE SOUND CAMERA
with 600 ft. magazine inch ext.
motor, insert stabilizer, clutch
ampl., mike, etc., case, l" fl.9
lens.
Reg. Price SALE
$1250.00 $945.00
6 PAIR ONLY
SYNCHRO-DUAL REWINDS
Model SD-16
2 geared ends with friction
unit & friction hub for
2-1 6mm reels
Reg. Price SALE
$35.00 $28.50
300 DOZ. PR. ONLY
FILM HANDLING GLOVES
GOOD GRADE COTTON
Specify men's or women's
sizes
Reg. Price SALE
$3.50 doz. pr. $2.69 doz. pr.
2 ONLY
SYNCHRONOUS MOTORS
FOR CINE SPECIAL
Used . . . but excellent
Reg. Price SALE
$156.00 $95.00
350 ONLY
TECHNICAL BOOKS
Cinematographers
Handbook . $ 4.46
Movies for TV . 4.46
Film & Techniques . 6.67
Rise of American
Film . 5.46
Motion Picture
Encyclopedia . 10.88
Painting with Light . 6.06
Technique of Film
Editing . 6.67
Film & Director . 3.99
Film Sense . 4.46
Intro to 3D . 3.99
Photo Optics . 5.12
Grammar of Film . 3.22
Magnetic Recording . 4.46
16mm Manual . 9.95
Pictorial Continuity . 2.56
Dynamics of Film . 3.12
'/2 Century of Color . 7.33
Cine Data Book . 3.99
Film Form . 3.99
Sound Mot. Piet . 10.88
TV Primer . 3.12
Photog. Process . 14.88
6 ONLY
TABLE-TOP SCREENS
1 8"x24"
Reg. Price
SALE
$4.50
$3.49
1 ONLY
KINEVOX RECORDER
SYNCHRONOUS
Magnetic tape —
excellent condition
Reg. Price SALE
$1550.00 $695.00
2 ONLY
SYNCHRONOUS ELECTRIC
FILM FOOTAGE COUNTERS
for 35mm
Reg. Price SALE
$75.00 $39.75
200 ONLY
KELLY CINE CALCULATORS
Circular sliderule
computer —
1 5 useful tables
1 6mm or 35mm
Reg. Price
SALE
$3.95
$2.29
3 ONLY
WRISTWATCH FILM TIMER
STOPWATCH
Hours, minutes, seconds
1 6mm & 35m footage
17 jewels
Swiss movement
Reg. Price
SALE
$59.50
$29.95
10 ONLY
ALUMINUM FLANGES
Heavy duty — 1 0” diameter
takes male & female
cores
Reg. Price
SALE
$1 1 .95
$6.95
1 ONLY
SUPER CINE SPECIAL II
PAR conversion with 2 — 400 ft.
Mitchell mags. PAR reflex mag¬
nifier. 1 2v variable speed motor
with battery. Side mounted Mit¬
chell viewfinder, floating mattes.
Mitchell sunshade &
filter holder
1 " fl.4 Ektar
1 6mm Ektar Converter
2 custom carrying cases.
Heavy duty tripod &
triangle
Reg. Price SALE
$3750.00 $2250.00
IMPORTANT:—
SEND CHECK WITH ORDER OR
FIRST COME — FIRST SERVED
25% DEPOSIT FOR COD SHIPMENT
ALL ITEMS GUARANTEED
WRITE FOR NEW CATALOG . .
FLORMAN & BABB
70 West 45th Street, New York 19, N. Y.
Phone: Murray Hill 2-2928
Cable Address - FLORBABB, N.Y.
cooped 1 co^pan^
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CAPITAL
FILM LABORATORIES, INC.
Formerly McGeary-Smitk Laboratories , Incorporated
1905 Fairview Ave., N.E., Washington 2, D.C. Telephone Lawrence 6-4634
Editing • Processing • Printing • RCA Sound Recording • Capital Film Studios
ATTENTION
IV
NEWS FILM DEPT.
The Filmatic
High Temperature 16mm
Film Processor
Presents
PROCESSED NEWS FILM
WHEN YOU WANT IT!
Yes, here is the film processor built
especially for you. Laboratory quality
at race track speed. The results are
“live” and clean. Think of it — reversal
processed, dried and rewinding in
2Vi minutes! Check this partial fea¬
tures list and write for the descriptive
brochure and additional information.
★ SPEEDS UP TO 115 FT. PER MIN.
★ BUILT-IN REPLENISHING SYSTEM
★ COMPLETE TEMPERATURE CONTROL
★ DAYLITE OPERATION
★ COMPACT— SELF-CONTAINED
★ FINGER-TIP TANK REMOVAL
★ ECONOMICAL PROCESSING
★ NO INSTALLATION PROBLEMS
PLEASE NOTE ADDRESS OF OUR NEW
and LARGER QUARTERS
MANUFACTURING CO.
“A" and LIPPINCOTT STS., PHILADELPHIA, PA.
. . . in equipment, accessories, service
Kinevox 16mm Recorder
Kinevox, Inc., 116 So. Hollywood
Way, Burbank, Calif., announce their
new 16mm synchronous magnetic film
recorder. Said to be designed especial¬
ly for 16mm film production, new
recorder records or plays all track
positions without need for head ad¬
justment.
Features include 400 ft. film ca¬
pacity. self-contained pre-amplifier,
Bodine sync motor, illuminated VU
meter, “ears” for rack mounting, push-
pull low-distortion bias supply, power
receptacle for camera — and a single
unit case. Total weight is 27 lbs. Re¬
tail price is $695.00.
Film Editing Machine
Resultant Engineering, Inc., 7424
Santa Monica Blvd.. Hollywood 46,
Calif., announces its line of new edit¬
ing equipment which includes a Stand¬
ard model for 35mm picture film with
171/2mm or 35mm magnetic or optical
track, and the Combination model that
takes both 16mm and 35mm picture
film with 171/omm or 35mm sound
tracks.
Features include 9" Jensen speaker
and hi-fidelity amplifier, rugged Ge¬
neva theatre-projector type intermit¬
tent. electrical hand brake, large pic¬
ture for easy viewing, optical unit
which springs away from film expos¬
ing entire frame for easy marking,
tone control light well, and extra large
film bag. Brochure is available.
Magna-Stripe at Byron’s
Byron, Inc., 1226 Wisconsin Ave.,
N.W., Washington 7, D. C., announces
the addition of a Reeves Magna-Stripe
application unit to the company’s lab¬
oratory. Machine is 16mm counterpart
of system used to apply magnetic
striping to CinemaScope films. Com¬
pany now offers one day striping serv¬
ice to 16mm film producers. Price of
Magna-Strip in any width is 1%^
per ft.
Camera Brace
S.O.S. Cinema Supply Corp., 602
West 52nd St., New York 19. N. Y.,
offers a new type camera support for
hand-held motion picture cameras.
Tradenamed the Body-Brace Camera
Pod, it provides extra camera steadi¬
ness and greater comfort for the cam¬
eraman. Made of lightweight alumi¬
num, it weighs but 31/2 lbs., is priced
at $24.95. For descriptive literature,
write the company direct, mentioning
American Cinematographer.
Continuous Contact Printer
Houston-Fearless Division, Color
Corp. of America, 11809 West Olym¬
pic Blvd., Los Angeles 64, Calif., an¬
nounces a new continuous contact
(Continued on Page 12)
10
American Cinematographer
January, 1955
Tilt-up hinged Control-Panel
construction.
New Auricon "Custom” Amplifier Model NR-40, featuring...
Two 110 DB high-gain microphone inputs, plus speech and music control, with “Telephone-
Effects Filter” key on “Input 1” for scenes involving simulated telephone conversations.
“Input 3” for re-recording from Magnetic to Optical-Sound-On-Film.
AURICON “Custom”
ALL AC OPERATED
AMPLIFIER
for Optical Sound-On-Film
Available for Variable-Area or Variable-Density Optical Sound-On-Film Recording. Can be used
with all existing Auricon Amplifiers, or with new Auricon “Custom” Model NR-40
A.C. Amplifier shown above.
•+C “Input 4” for re-recording from Disc to Optical-Sound-On-Film.
•Jc Large, self-illuminated “Visual Sound-Recording Volume-Indicator” meter, plus individual
illuminated meters for “Sound-Track Exposure” and "Sound-Track Noise-Reduction.”
•ft $845.00 complete with 115 volt, 50-60 cycle A.C. Power Supply. Microphones and Recording
Cables extra, available as needed to operate with Auricon Cameras or Recorders.
NEW 16mm
AURICON 1200” RECORDER
Model RM-30 for
Optical Sound-On-Film Recording
Write today for free illustrated literature on the
new Auricon Amplifier, Recorder, and Accessories.
' ■* v.
ERNDT-
Film is edge-guided by jewel-hard Sapphire surfaces, (U.S. Patent 2,506,765), for precision
placement of the sound track on film.
■+C Triple-filtered film-flow insures “flutter-free” and “wow-free” High Fidelity Recording.
1200 ft. film Magazines for 33 minutes of continuous recording.
-ft Push-button Control Panel with Indicator Lights for dependable operation.
•+C $1,785.00 for Recorder only. Magazines, S-O-F Galvanometer, Amplifier, etc., extra.
6902 Romaine Street, Hollywood 38, Calif.
Negative Developing
First Print Department
Ultra Violet and
Flash Patch Printing
16 mm and 35mm
Release Printing
Title Department
45 Cutting and
Editing Rooms
MOVIELAB FILM LABORATORIES, INC.
619 West 54th Street, New York 19, N. Y JUdson 6-0360
WHAT’S NEW
( Continued, from Page 10)
printer for 16mm black-and-white or
color motion picture film.
Equipment provides for 22 printer
light settings; proper light value for
each scene is easily and accurately
controlled by light selector dial which
is pre-set for each scene. Index cards
showing proper light value for each
scene are held in handy receptacle on
panel; a pointer shows which scene is
being printed.
Optical system is constant and ac¬
curate, projecting a slit of intense
even light. Maximum sharpness is
provided by focusing adjustment. Fil¬
ters for correcting emulsion differences
can be interposed in the optical beam.
In color film printing, correction is
automatic. Threading of film is fast
and simple — all controls are on the
front panel for convenience; safety
switches and brakes are provided.
Film Buckle Trip
The Camera Mart, Inc., 1845 Broad¬
way, New York. N. Y., announces a
film buckle trip for the Arriflex 35mm
camera. Device automatically stops
camera in event of loss of film loop,
preventing damage to camera film
transport mechanism. The Camart
Buckle Trip can be installed in cus¬
tomer’s camera within 48 hours. Cost
of parts and installation is $69.50.
( Continued on Page 00)
12
American Cinematographer
January, 1955
PANORAM DOLLY gi ves camera complete
mobility; smooth panning, dolly shots, run¬
ning shots, special effects. Two man crew.
CINEMOBILE offers extreme maneuverability.
Camera boom raises hydraulically. Ideal for
smooth dollying, panning, etc. Two man crew.
HOUSTON-FEARLESS TC-1 CRANE raises
camera to extremely high and low positions.
Permits “fluid motion" shots. Foot-operated
panning.
HOUSTON-FEARLESS All-Metal Tripod on
Tripod Dolly gives mobility to cameras at
low cost. Completely portable. Ideal for
remotes.
CAMERA is counterbalanced
in Model PD-3 TV Pedes¬
tal by Houston-Fearless,
enabling cameraman to
raise or lower with ease.
WHICH TYPE OF CAMERA
MOUNT SHOULD YOU BUY?
Proper mounting of television and
motion picture cameras is essential for
efficient operation, smooth production
and good showmanship. Choice of
mobile equipment should be determined
by the size of your studio, types of
shows, size of camera crew, camera
equipment used, budget and many
other factors.
Each piece of Houston-Fearless
equipment shown here has been designed
for a specific purpose. Each is the finest
of its type, the standard of the industry.
A Houston-Fearless representative
will be happy to analyze your require¬
ments and recommend the equipment
that will serve you best. Write or phone:
The Houston-Fearless Corp., 11801
West Olympic Boulevard, Los Angeles
64, California. BRadshaw 2-4331. 620
Fifth Avenue, New York 20, N. Y.
Circle 7-2976.
MODEL BT-1 CRANE has power drive, hydrau¬
lic lift. Provides lens height from 2' to 10'.
Developed for Motion Picture Research
Council.
TV PEDESTAL MODEL PD-1 by Houston-
Fearless is operated by camerqman. Rolls
smoothly, raises, lowers, turns on own radius.
Wm
OU ASKED FOR IT!
Requests from many Kinevox users for a Kinevox-quality 16mm
synchronous recorder at a reasonable price gave our engineers
a big job.
HERE IS THE RESULT!
Designed and engineered especially for 16mm film. New design
— New Electronics — New Ideas!
Special precision instrument
ball bearings and compo
oil-retaining bearings.
•
Plays all track positions
without head adjustment.
Panel size: 12'U" x 11" x
73/e". Power required: 70
watts. Total weight, cased:
27 lbs.
Airplane luggage style case
with removable front.
Transport and amplifiers in
one unit.
400-ft. 16mm film capacity.
No reels required.
Self-contained pre - ampli¬
fier operates directly from
low impedance micro¬
phone.
Latest type lo-noise tubes,
DC heater supply, shock-
mounted tube sockets.
Bodine synchronous salient-
pole motor with filtered
drive.
Cannon XL connectors.
$695°°
Features illuminated VU meter . . . “Ears” for rack mounting available . . . Can be supplied
for any voltage and frequency . . . Matching film phonograph available . . . Push-pull low-dis¬
tortion bias supply . . . Power receptacle for camera . . . Complete specifications, performance
data and curves available on request.
Designed, Manufactured and Guaranteed By '
KINEVOX BUILDING
114-116 SO. HOLLYWOOD WAY
TELEPHONE: Victoria 9-3291 I N
ROME • BOMBAY •
life I
. n
S.;
BURBANK
CALIFORNIA
CORPORATED CABLE: Kinevox, Burbank
NEW YORK • RIO DE JANEIRO • CANADA
H
BOMBAY
"SUPER 1200" capacity
for 33 minutes of recording
$4652.15 and up.
ALL AURICON EQUIP¬
MENT IS SOLD WITH A
30-DAY MONEY-BACK
GUARANTEE. YOU MUST
BE SATISFIED.
"CINE-VOICE" capacity for
2% minutes of recording.
$695 and up.
"AURICON-PRO" capacity
for 5V2 minutes of recording.
$1310 and up.
TRIPOD -Pan-Tilt Pro¬
fessional, velvet-smooth
action. $325 and up.
WRITE FOR
AURICON
CATALOG
I
Him MR Oil ROOF
... the One-Stop Source for all your
^l! rAMitOHl—, p.
^Jne - J Hollywood loi-l
CINE-VOICE $695 AURICON-PRO $t]io SUPER 1200 $4652.15
TDIDftn
enoTABic DfttutD iiuit «->*o sn cniinn BfrnotifS 41149,50
mlmSm
Avoid the annoy¬
ance and many
man hours now
lost classifying
films without ti¬
tles.
The MOY edge
numbers every
foot of 16 and
35mm film and
simplifies the
task of checking
titles and foot¬
age.
BRIDGAMATIC 416035, combination 16/35mm high speed automatic film develop¬
ing machine, totally enclosed for daylight operation — one of 12 standard models.
DEVELOP YOUR OWN FILMS
A true one-name lab. Entirely automatic! Capable of speeds up to
3000' per hr. positive, 1 200’ per hr. negative, depending on
developing times. Standard design has open tanks, outside feed-in
and take-up reels. Variable speed transmission gives graduated
control from zero to infinity. Built-in drybox allows 15 to 30
minutes drying time. Write for illustrated brochure. Other models
$1095 up.
AMONG RECENT PURCHASERS ARE:
U.S. Army, Frankford Arsenal, Philadelphia, Pa.
A.I. Dupont Inst. (The Nemours Foundation), Wilmington, Del.
U.S. Naval Microfilm Laboratory, Washington, D. C.
A PRODUCT OF FILMLINE CORP.
IDENTIFY YOUR FILMS INSTANTLY
The MOY replaces cue marks, messy crayons, punches, embossing — does
not mutilate valuable film. Work prints showing special effects, fades and
dissolves require edge numbering to keep count of frames cut or added.
Multiple magnetic tracks in CinemaScope stereophonic recordings make
edge numbering a MUST.
With new improved Non-Clog Inking System $2475
Present MOY owners can easily install the neu- and improved inking system!
AMONG RECENT PURCHASERS \RE :
Reeves Soundcraft, Springdale, Conn. Indonesian Supply Mission, N.Y.C.
Holland & Wegman, Buffalo, N.Y. Cinerama Productions, New York
American Optical (Todd AO), Hollywood Columbia Broadcasting System, N.Y.
S.O.S.
" The Department Store of the Motion Picture Industry”
PIIUFMA <lIIPPI V PflRP 602 WEST 52nd ST- NEW mK ,9- NY-
UlIvLIllfl uUrrL I UUlir* Phoae: Plaza 7-0440 Cable: S0S0UND
I1DUSMV DEWS
= New 35 mm Model 2A =
== With 180° Shutter =
I A truly GREM |
| CAMERA 1
EE for TV, Newsreel
j= and commercial
— For tough and trying assign- —
= ments, ARRIFLEX 35 is in a =
mr class by itself. Reflex focusing ^
— through photographing lens ~
— while camera is operating — ^
^3 this is just one outstanding
= ARRIFLEX feature. EE
= Equipped with bright, right- ==
— side-up image finder, 6Vi x EE:
= magnification. Solves all par- ~
== allax problems. 3 lens turret. =
= Variable speed motor built EE=
into handle operates from
— lightweight battery. Tachom- EE
EE eter registering from 0 to 50 EE
= frames per second. Compact, ==
EE lightweight for either tripod E:
or hand-held filming. Takes EE
EE 200' or 400' magazine. Write EE
EE for free folder. EE
: — Blimp now available. —
— 1 6 mm ARRIFLEX also available.—
FRANK C .
ZUCKER
(7flm€RR €c
DUIPITKIIT ( o .
1600 BRORDUJRB
\ new hork cn y
Thirty Technical achievements in mo¬
tion picture production practice have
been submitted to the Scientific and
Technical Awards Committee of the
Academy of Motion Picture Arts and
Sciences, Hollywood, for consideration
in this year’s “Oscar” awards.
Pursuant to Academy policy, the fol¬
lowing list of achievements is being
published in the press to permit those
having claims of prior art or devices
similar to those under consideration to
bring them to the committee’s atten¬
tion :
Reflected light units, Metro-Gold-
wyn-Mayer.
Portable Remote Control Console,
Universal- International.
Heating Element for Motion Picture
Cameras, Metro-Gold wyn-Mayer.
Brightness Spot Meter, Photo Re¬
search Corp.
Comparator, M-G-M.
Electronic Comparator System. Col¬
umbia Pictures.
Improved Magnetic Transfer Ma¬
chine, Columbia Pictures.
Photo-magnetic Recording Method,
Columbia Pictures.
Multiplex Electronic Monitor, Col¬
umbia Pictures.
Westrex Densitometers. Westrex
Corporation.
Combination Photo Lens for Cine-
maScope, 20th Century-Fox studio.
Perspecta Sound System. Perspecta
Sound.
Stereophonic Magnetic Sound Re¬
cording, Cinerama.
Four-track Magnetic Cluster, RCA.
Magnescope Cathode Scanner, Mag-
nescope.
Magnetic Film Editing Machine,
M-G-M.
Magnetic Film Cutter and Splicer,
M-G-M.
Mitchell VistaVision Camera, Mit¬
chell Camera Corp.
VistaVision Double-frame Projector,
Century Projector Co.
Synchronized Magnetic Tape Re¬
cording, Rangertone.
Graphic Equalizer. Goldwyn Studio.
VistaVision, Paramount Pictures.
New Projection Framing Device,
Paramount Pictures.
Variable Focus Device, M-G-M.
Triple-head Process Projector,
M-G-M.
New Light Source, Warner Brothers.
Electric Cable Reel, Universal-Inter¬
national.
Portable Electric Fog Machine, Uni¬
versal-International.
Spiral Fluted Columns, Universal-
International.
Fabrication of Shutter Slats, Uni¬
versal-International.
After study and investigation of the
above, demonstrations of achievements
will be held in February for the com¬
mittee, after which final meetings will
be conducted to determine the Awards
recommendations for the Academy’s
Board of Governors.
★
Production of television films in
Hollywood has grown to such propor¬
tions that is has created new demands
for studio space. As a result, TV
rather than theatrical film production
has necessitated new studio and stage
construction in the film capital.
At Republic studios, a four-stage
building has been constructed for its
own and subsidiary TV film produc¬
tion companies. Columbia Pictures is
planning erection of two new stages for
production of its Screen Gems video
films.
The TV film boom has also resulted
in expansion programs at Kling,
American National, California. General
Service, Motion Picture Center, Hal
Roach, and RKO-Pathe studios. More
than seven and a half million dollars
are expected to be expended by these
studios for new construction.
★
Gevaert color film is soon to make its
bow in this country. The Belgian com¬
pany, through its subsidiary, Gevaert
Company of America, will launch its
sales drive after expiration of the
American rights to the process’
patents held by Ansco. The Gevaert
process is based on the old German
Agfa color system.
★
DuPont Photo Products division will
open a new office building and ware¬
house in Dallas, Texas, January 18th,
at 16820 Oak Lawn Street.
★
Fairchild C amera and Instrument
Corp. has announced plans for con¬
struction of a new plant in Los An¬
geles, to meet the growing demands for
its products by industries on the West
Coast.
16
American Cinematographer
January, 1955
t
The World’s Outstanding 16mm Camera
Because it has so much more to offer, the Arriflex
16 has become the most wanted 16mm camera in
the field. The demand has been greater than the
supply from the very beginning . . . and for the best
reasons in the world:
• The Arriflex 16 is the only 16mm camera with a
mirror- reflex shutter for continuous thru-the-lens
focusing and viewing— even during actual shooting.
There is no beam-splitting and no light loss; no
parallax and no need for extra finders.
• It is equipped with registration pin assuring abso¬
lute frame registration and rock-steady pictures.
• A built-in electric motor drive permits uninter¬
rupted filming — no need to stop and wind a spring.
• By employing a diverging turret, 3 lenses from
For complete information concerning Arriflex 1 6mm and
35mm cameras, and Arri film lab equipment, write to.
extreme wide-angle to 300mm telephoto can be
simultaneously mounted— without physical or optical
interference.
There are a host of other features that equip the
Arriflex 16 for every possible type of professional
filming: Footage and Frame Counters — Tachometer
— Detachable Matte Box — 400 ft. Accessory Maga¬
zine, etc. Its extreme compactness and light weight
(only 7 V 2 lbs. with Matte Box) makes it also ideally
suited for hand-held shooting.
The quality, performance, and exclusive features of
the Arriflex 16 have created a great demand for
this camera. To assure earliest possible delivery, we
strongly urge you to place your order now. And
even though there is some delay, remember . . . the
Arriflex 1 6 is worth waiting for.
ARRI
KLING PHOTO CORP. • 235 Fourth Ave., New York 3, N. Y. • 7303 Melrose Ave., Los Angeles 46, Calif.
..FIRST
KNOWN USE OF ELECTRIC
SET LIGHTING- BACKGROUND
PROJECTION AT THE PARIS OPERA
IN 1846. LIGHT FROM A
primitive arc-lamp WAS
REFLECTED ON A SILK SCREEN
TO REPRESENT THE
RISING SUN.
1
•Ui:
i
u
. *
tfilWi
"
STILL A VALUABLE ASSIST TO SPECIAL
EFFECTS/ REALISM AND PRODUCTION ECONOMY, MODERN
BACKGROUND PROJECTION DEPENDS ON
THE BRILEIANCE AND TRUE COLOR-
BALANCE OF "NATIONAL"
ARC CARBONS.
THE NEW SCREEN SIZES AND
FILMING TECHNIQUES/ "NATIONAL' CARBONS
CONTINUE TO AFFORD THE BROAD COVERAGE,
PENETRATION, BRILLIANCE AND SHARP SHADOWS
REQUIRED FOR TOP PRODUCTION VALUE.
THE “NATIONAL” CARBON ARC ... NOTHING BRIGHTER UNDER THE SUN
The term "National77 is a registered trade-mark of Union Carbide and Carbon Corporation
NATIONAL CARBON COMPANY
A Division of Union Carbide and Carbon Corporation, 30 East 42nd Street, New York 17, New York
Sales Offices: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco
IN CANADA: Union Carbide Canada Limited, Toronto
FLASH — FOR ARRIFLEX USERS!
Our research department has developed and made
available, an ARRIFLEX CAMERA BUCKLE TRIP de¬
signed to shut off your camera motor INSTANTLY
in the event of loss of loop, or if the take-up fails
to operate for any reason. Prevent damage to your
camera, save expensive parts and repairs, and loss
of time. Installation within 48 hours.
$69.50
CAMECA'MACT
THE
INC.
1845 BROADWAY ™ 60™ ST.
• CONE-LITE
New 24" diameter cone light for
1000 watt or 2000 watt T4S-
3200 Kelvin bulbs. A practical
and shadowless light giving
120° angle of illumination.
Great for color or black and
white. Ideal for television, wide
application for motion picture
studios.
hoenal? $150.00
• CAMART SYNC
FILM TIMER
A safe method of insuring a
steady tripod support for your
motion picture or television
newsreels when atop a car or
station wagon platform. Heavy,
bronze construction, weather¬
proof. Set of three .
$28.00
yea/i ajf New. Pncducti *
$29.00
$4.95
CAMART
ROOF-TOP
CLAMPS
• CAMART TV MATTE for MOVIOLA
Now your film editor or sponsor
can view your TV films on your
35mm Moviola with the exact
area matted as it would appear
on home television receivers.
Aluminum, flat anodized black,
precision cut.
For post-recording, nar¬
ration, and dubbing, a
combination of precision
footage counters and
synchronous timers
designed for ease of
operation and exact
results. Write for new
AMAZINGLY LOW
PRICES!
.... and teleuii-ian
HERE'S O REASONS
WHY YOU NEED THE UNIVERSAL
# CAMART TIGHTWIND ADAPTER
• JUNKS SPLIT REELS AND FLANGES!
O Designed to fit all rewinds.
• Chrome plated ball-bearing roller guide.
• For left and right side rewinds.
• Core adapter fits 16mm and 35mm male
and female plastic cores.
• Saves storing film on reels.
• Eliminates cinching and film abrasions.
C Does not interfere with normal use of rewind.
PATENT
PENDING
SPECIAL SERVICES
AUTHORIZED BAUSCH & LOMB
BALTAR LENS AGENCY.
FACTORY APPROVED SERVICE & REPAIR
OF BELL & HOWELL EQUIPMENT.
BALTAR LENSES MOUNTED FOR ALL
1 6-35mm CAMERAS.
• CAMART SLATE and CLAPSTICK
PRICES SLASHEDI
LARGE 10" x 12"
PROFESSIONAL
SOUND SLATE
HIGH QUALITY —
LOW COST
PR0D.N0.
DIRECTOR
CAMERA
SOUND
SCENE I TAKE
DATE
NEW YORK 23, NEW YORK
Circle 6-0930
Something missing from your film processing picture? At Precision we’ve learned
over the years that selective printing for every scene plays a vital role in a perfect print —
and that only expert human judgment can be depended on to select that timing value.
Leaders in the film industry— directors, producers, cameramen— have learned that Precision
alone offers such fully rounded experience and skill in film processing.
In everything there is one best... in film processing, it’s Precision.
A division of J. A. Maurer, Inc.
DEDICATED TO DETTED PERFORIDODCE
COLLAPSIBLE
3-WHEEL DOLLY
For motion picture and
TV cameras. Sturdy
cast aluminum. For
standard or baby tri¬
pods. Additional baby
tripod point holders
to control spread of
tripod legs. Adjust¬
able spring seat. Ex¬
tra wide rubber wheels.
Bronze tie down clamps
and other features.
For studio or location. Folds
into one compact unit. Can be
used with professional or
semi-professional tripods.
HYDROLLY’
TV OR
CAMERA DOLLY
The advanced dolly for
instant moveability —
streamlined, light¬
weight, exceptionally
sturdy. Nothing to get
out of order. Many new
advantages for easy
operation. Hydraulic
lift type for fast up¬
ward and downward
motion of TV and mo¬
tion picture cameras.
.csfd
m
SYNCHROMASTER
SYNCHRONIZER
Our Exclusive Distributor
jVeutTUuZe
Any combination of
16mm and/or 35mm
sprockets assembled
to specification. Cast
aluminum. Foot linear
type, adjustable frame
dial. Fast finger rol¬
ler release. Contact
rollers adjusted indi¬
vidually for positive
film contact. Sprocket
shaft slip lock, foot¬
age counter, etc.
^<3
m
W
m
RERTRIiS
SALES - HtPAIftS • SEKVICE
LENS COATING
T STOP CALIBRATION
DESIGNING and MANUEACTUPING
lens mounts & camera equipt.
for 16mm, 35mm, TV cameras.
BAUSCH & LOMB “BALTAP”
LENSES and others
for motion picture, TV camer¬
as. 15mm to 40" focal length.
COMPLETE LINE of 16mm, 35mm
cameras, dollies, synchronizers,
animation equipment, cutting room
and time lapse equipment.
BELL & HOWELL: Standard, Eye-
mos, Filmos. MITCHELL: Standard,
Hi-speed, BNC, NC, 16mm.
Swivel seat. Adjustable leveling head.
Seat for assistant. In-line wheels for
track use. Steering wheel, rigid floor
locks. Hand pump or combination hand
and motor pump. Easily transported in a
station wagon. Fits through a 28" door.
L\C
!W>
Kr.:
Groverlite
SENIOR & JUNIOR KITS
‘A STUDIO IN A SUITCASE"
ColorTran re¬
places heavy
and expens¬
ive equip¬
ment.. . gives
you illumina-
t i o n up to
5000w. from
an ordinary 20 amp. house current. Equipped with
barndoors, diffuser slots for silks, snoots and other
accessories. Ideal for studio or location shots.
PORTABLE
MICROPHONE BOOM
For Studio or on Location. Light¬
weight — collapsible — for TV and
motion picture production. Sturdy
construction. Boom telescopes 7 to
17 ft. Rear handle for directional
mike control. A remote control per¬
mits 360° rotation of the microphone.
Operator can push the boom and oper¬
ate microphone swivel simultaneously. Extension rods make it
simple to operate microphone rotation from floor. Microphone
cable hangs outside of boom, preventing cable from tangling
with the rotation mechanism. Ball bearing casters, rigid foot
locks, pneumatic drop check for lowering the boom, etc.
VARIABLE-
SPEED MOTOR
with TACHOMETER
for Cine Special or Maurer Cameras
115 V. Universal Motor — AC-DC
Separate Base for Cine Special.
Variable Speed 8-64 frames.
Adapter for Maurer Camera.
INTERCHANGEABLE MOTORS: 12
volt DC Variable Speed 8-64 frames.
115 Volt AC 60 Cycles, Synchron¬
ous Motor, Single Phase.
ANIMATION MOTORS: Cine Spe¬
cial, Maurer, Mitchell, B & H Motors,
for Bolex and Filmo Cameras.
NATIONAL CINE EQUIPMENT, Inc.
JOHN CLEMENS
ERWIN HARWOOD
209 W.48th ST., NEW YORK 36, N.Y.-CIrcle 6-0348
Booklets Catalogs Brochures
available from equipment manufacturers
Production Equipment
SPECIALS
For The New Year!
CAMERAS
MITCHELL 35mm camera, 2-1000' mags,
motor, 40mm, 50mm, 75mm Astro f2.3
lenses, sunshade, viewfinder, tripod,
cases, first class condition . $4,900.00
EYEMO 71 K Cameras, from $295.00
and up.
ARRIFLEX, 2-200' mags, three lenses,
sunshade, motor, excellent . $595.00
CINEFLEX, 2-200' mags, three lenses,
motor, case, fine condition . $650.00
DEVRY newsreel camera, two lenses,
governor speed control . $150.00
AURICON Pro camera, auto-parallax
finder, brand new amplifier with sound
accessories, camera like new. ...$1 ,250.00
WESTERN ELECTRIC 16mm camera, three
lens turret, built-in 6 volt motor 200'
capacity, includes galvo for single sys¬
tem sound, with case, special. ...$595. 00
ARRIFLEX 16mm cameras in stock.
ARRIFLEX 35mm blimp and cameras in
stock.
EDITING EQUIPMENT
MOVIOLA 35mm Preview, composite and
separate sound, completely reconditioned,
first class working condition. ...$1 ,695.00
MOVIOLA 1 6mm picture head, used
. $365.00
MOVIOLA 35mm picture head, new, with
footage counter installed . $465.00
SYNCHRO-READER attaches directly to
your Moviola synchronizer for reading
magnetic film, with speaker . $99.50
MOVIOLA 35mm sound reader... .$79.50
ACE 35mm rotary viewer w/counter and
image erector, like new . $199.50
FILM EDITORS STOP WATCH . $13.95
MICRO 2/35mm synchronizer . $89.50
BIG SAVINGS ON
COLORTRAN KITS!
Senior Kits, new, previous model $185.00
Senior Kits, used, perfect . 165.00
Junior Kits, new, previous model 145.00
Junior Kits, used, perfect . 125.00
Spot kits, new, previous model.. 195.00
Spot kits, used, perfect . 175.00
Movie model converter, previous model,
with Kelvin and amp meters, takes 16-
20 bulbs, excellent . $125.00
FOR NEWSREELS, portable battery oper¬
ated light with charger, new lightweight
unit . $195.00
FLUORESCENT lighting units, takes six
20 watt bulbs, ideal fill light, new,
original cost $150.00, specially offered
at . $21.50
MISCELLANEOUS
HALLEN 22B magnetic recorder for
17.5mm film, two channel mixer, play¬
back speaker, counter, erase, sync speed
. - . $995.00
MAURER model D 16mm optical recorder,
amplifier, power supply, sync motor, two
400' mags, cases, excellent.. ..$2, 495. 00
ARRIFLEX sync motor and base. .$325. 00
MAURER blimp, follow focus, lightweight
metal construction, soundproof.. ..$495. 00
MOTOR, variable speed, for Cine-Special,
with case, like new . $295.00
ARRIFLEX power unit converts 110 volts
AC to 12 volts DC, new . $110.00
THE CAMERA MART, INC.
1 845 Broadway, near 60th Street
New York 23, N Y. Circle 6-0930
Cable Address Cjmcramart
Stage Lighting
An informative 24-page booklet, “A
Handbook on Modern Stage Lighting,”
is available from Metropolitan Electric
Mfg. Co., 2250 Steinway St., Long
Island City 5, N. Y. It describes in
rather complete detail manually-oper¬
ated and remote-control stageboards.
Although the descriptions apply to
stage use, the company’s equipment
has similar use in motion picture and
television studios.
★
Tropical Photography
An extensively revised edition of
its booklet, “Notes on Tropical Pho¬
tography” has been published by East¬
man Kodak Co., Rochester 4, N. Y.
Punched to fit the Kodak Photographic
Notebook, it is available from the com¬
pany’s Sales & Service Division.
★
Cine Camera Lenses
Available from Wollensak Optical
Co., Rochester 21, N. Y., is a 28-page
booklet describing and giving the
technical specifications of the Wollen¬
sak line of Masterpiece Cine Raptar
Lenses for 8mm and 16mm cameras.
It will prove especially valuable as a
lens data source for the professional
16mm cameraman.
★
Coated Lens Care
“The Care and Nature of Coated
Lenses” is title of educational 16-page
booklet offered by Bausch & Lomb
Optical Co., Rochester 2, New York.
The booklet illustrates typical lens
damage and explains how to avoid
same. Valuable information for pro
and amateur alike.
★
Lab Equipment Data
Photovolt Corporation, 95 Madison
Ave., New York 16, N. Y., now has
available comprehensive descriptive
brochures on its line of equipment,
including Transmission and Reflection
Densitometers, Sound Track Densi¬
tometer, Electronic Printing Timer,
and the Model 200-A Exposure Pho¬
tometer.
★
Title Letters
An informative brochure and sam¬
ples of Graforel ready-gummed cork
title letters may be had by writing
Grace Letter Company, Inc., 77 Fifth
Ave., New York 3, N. Y.
Cine Lens Data
“Elgeet Lenses For More Exciting
Movies,” is title of comprehensive,
illustrated brochure offered by Elgeet
Optical Co., Inc., 838 Smith St.,
Rochester, N. Y. Illustrated and de¬
scribed and diagrammed are the com¬
pany’s line of lenses for 8mm and
16mm cameras, including standard
wide-angle and telephoto.
★
Animation Equipment
Readers interested in professional
equipment for the production of ani¬
mated films will find interest in the
six-page illustrated brochure now avail¬
able from J. G. Saltzman, Inc., New
York 17, N. Y. Also illustrated and
described is an optical printer for
special effects work, which offers a
wide range of tricks and effects.
★
Zoom Lens Brochure
The popular Zoomar 16mm varifocal
lens is described in a colorful illus¬
trated brochure offered by Zoomar,
Inc., Glen Cove, Long Island, New
York. Chapters deal with such matters
as Depth of Field, Adjusting The
Zoomar to Your Camera, and a Gen¬
eral Description of the lens.
★
Acme Equipment Catalog
The well-known line of Acme special
motion picture equipment is illustrated,
described and priced in a new 8I/2"
x ll1/^" catalog now available from
the Producer’s Sales Corp., 2704 West
Olive St., Burbank, Calif. Included
are comprehensive descriptions of the
Acme Process Camera, Acme Stop
Motion Motor, Variable Speed Sync
Motor, Animated Stand components,
Process Projector Head, Printer Lamp
House, Matte Shot Projector, and TV
Recording Camera.
★
THE LITERATURE described above
contains a wealth of valuable data
for the cinematographer and others
in the film industry. Unless other¬
wise indicated, copies are free. Re¬
quests should be addressed direct¬
ly to the company named — not to
American Cinematographer.
— EDITOR.
22
American Cinematographer
January, 1955
* Scene from "The Egyptian," 20th Century-Fox CinemaScope Epic.
*To film "The Egyptian,” 20th
Century-Fox chose the new B&L
40mm Baltar CinemaScope
Lenses — cine and anamorphic
lens elements in a unified mount
operated by a single control.
Thrilling realism . . . vivid detail . . . brilliant
images in 2D, 3D or CinemaScope — that’s what
Bausch & Lomb Baltar Lenses mean to the
professional cinematographer. For your finest work
in movies and TV, specify B&L Baltar Lenses.
ORDER from your professional camera manufacturer
or WRITE to Bausch & Lomb Optical Co.,
30037 Martin St., Rochester 2, N. Y.
The Mitchell-built VistaVision camera.
Todd-AO wide-screen camera.
Disney-built underwater camera blimp.
Technical Progress In 1954
Refinements and new departures in photographic technique and equip¬
ment highlight the industry's progress during the year just passed.
By ARTHUR E. GAVIN
Much of the technical progress
achieved by Hollywood’s motion
picture industry during 1954 is directly
attributable to the frightening jolt it had
received the previous year when the
rather sudden advent of 3-D, Cinerama
and CinemaScope almost brought pro¬
duction to a standstill. What was taking
place, of course, is what has occurred at
intervals before in the industry — a re¬
volution and the dawning of a new era
of technical progress.
This time it was the photographic
phase of film production that was being
affected. Stereo, Cinerama, and Cinema-
Scope — all these “new” systems began
with radical changes in the procedure of
photographing a picture. By January
of this year, 3-D was clearly on the way
out as a popular medium of theatrical
film presentation. Cinerama continued
to gather popularity, and new Cinerama
productions were already in the making.
Fast footwork on the part of 20th
Century-Fox executives had sold Cinema-
Scope to the majority of the nation’s ex¬
hibitors and they were already at work
to effect a similar coup in Europe. By
January 1st, 1954, CinemaScope had be¬
come a solidly established system of film
production and exhibition.
The original anamorphic lenses which
20th Century-Fox had imported in order
to shoot its first CinemaScope produc¬
tion, “The Robe,” had been analyzed by
Bausch & Lomb and greatly improved.
Very soon B&L was supplying new and
better CinemaScope lenses to Fox, which
enabled the studio to expand its slate
of CinemaScope productions. In all this
endeavor, Sol Halprin, A.S.C., Fox
Studio camera department head; Grover
Laube, camera engineer; and Earl Spon-
able, the studio’s technical director,
made important contributions.
By June of last year, Bausch & Lomb
had so improved its design of ana¬
morphic lenses, that it now was supply¬
ing Fox and other studios with Cinema¬
Scope lenses in various focal lengths,
ranging from a 12-element 40mm up to
152mm. These lenses possessed im¬
portant new attributes, not found in the
first CinemaScope lenses, including im¬
proved resolving power, greatly reduced
distortion, enhanced definition and im¬
proved color correction.
Although, by early 1954, most of the
other majors were swinging over to
CinemaScope production, one studio —
Paramount — 'believed it had a better
system. This studio had for several
months experimented with still another
new method of motion picture photo¬
graphy in which the film travelled hori¬
zontally, instead of vertically, and ex¬
posed a frame 8 sprocket-holes in width,
equivalent to two frames of standard
35mm. (See Amer. Cinematographer
for December, 1953, page 588.)
Paramount engineers, headed by
Loren Ryder, were convinced that an
New, improved CinemaScope lens built by Bausch &
Lomb Optical Company.
24
American Cinematographer
January, 1955
aspect ratio of 1.85 to 1 was not only
more desirable from an esthetic stand¬
point but was more adaptable to the
majority of the nation’s theatres. (Many
had been considered too narrow to ac¬
commodate the very wide screen re¬
quired for the 2.55 to 1 aspect ratio of
CinemaScope.)
Experiments began with a camera
that had been built back in the 20’s by
William P. Stein for the old William
Fox “Natural Color” system. This was
a two-color system that required the
negative to move past the gate two
frames at a time. Paramount engineers
turned the camera on its side, changed
the aperture to take a lens that would
cover an area two-frames in width, and
after a series of tests, turned the camera
over to Loyal Griggs, A.S.C., to use in
filming Paramount’s “White Christmas.”
This new photographing system,
which was originally dubbed the “Lazy-
Anamorphic lens adapted to Arriflex 35mm cam¬
era for photography in CinemaScope format.
8” by Paramount, had definite ad¬
vantages. By starting with the extra
large negative and reducing the image
by printing on standard 35mm color
print stock, grain size was reduced and
greater clarity was achieved.
By April, 1954, Paramount, follow¬
ing the successful photography of
“White Christmas” with the double¬
frame camera, was now definitely com¬
mitted to the “Lazy-8” system, which
now it had tradenamed “VistaVision.
Leading manufacturers of professional
motion picture cameras were invited to
survey the system and to submit designs
for a new VistaVision camera that would
incorporate the horizontal film move¬
ment.
Mitchell Camera Corp., of Glendale,
Calif., which had aided the studio in
working out a satisfactory film move¬
ment for the modified Stein cameras,
submitted a design for a VistaVision
The Bell & Howell “FilmoRama” anamorphic
lens mounted on a 16mm Filmo.
camera based on ideas which had been
submitted by Paramount studio engi¬
neers. Within a very few weeks, Mitchell
was at work on a prototype of the new
camera and by October 1st had de¬
livered the first of six new VistaVision
cameras to Jack Bishop, Paramount
camera department head. (See Amer.
Cinematographer for November, 1954,
page 552. — ED.)
After a period of exhaustive testing
by the studio camera department, three
of the new cameras were shipped to the
Cecil B. DeMille Company then in
Egypt, where they were used by Loyal
Griggs, A.S.C. ; Wallace Kelley, A.S.C.;
John P. Fulton, A.S.C. ; and John F.
Warren in photographing DeMille’s
latest epic, “The Ten Commandments”
With its VistaVision photographic
problems now pretty well licked. Para¬
mount turned to the exhibition phase of
( Continued on Page 42)
Len Roos, ASC, demonstrates the new Kinevox'
Kay Lab electronic viewfinder.
American Cinematocrapher
January, 1955
25
BENJAMIN KLINE, A.S.C., (right) directs the photography of Frank
Wisbar’s “Fireside Theatre” series. One of the real veterans of
TV film production, Kline started shooting TV films for Bing
Crosby Enterprises in 1951.
PHIL TANNURA, A.S.C., (in checkered shirt) directs the photography of the “Burns and
Allen Show” and “The Jack Benny Show” for McCadden Productions. Tannura is
credited with several important contributions in the science of lighting sets for TV film
production. He was formerly with Columbia Studio.
Si Tfir j
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WALTER STRENGE, A.S.C., (right) has photographed
over 400 TV films for Roland Reed Productions —
forty last year alone. He’s shown here with two
stars of the “Margie” show — Charles Farrell
(left) and Clarence Kolb.
KARL FREUND, A.S.C., one of Hollywood’s “Oscar”
winners, directs the photography of the “I Love
Lucy” and “December Bride” shows for Desilu
Productions. Freund was one of first to use the
26
American Cinematographer
January, 1955
The Big Switch Is To TV!
1954 saw the greatest number of Hollywood’s ace cameramen
directing the photography of television films.
By FREDERICK FOSTER
Last year, more and more producers
of TV films signed veteran Holly¬
wood cinematographers to direct tfie
photography of their shows. Today, al¬
most all the men shooting the top shows
on film are members of the American
Society of Cinematographers.
One of the most notable things about
television programs originating on film
last year was the marked improvement
in transmission quality — the clarity with
which these shows appeared on home
receivers. For this important advance¬
ment, a great share of the credit is due
the men who directed the photography
and who worked closely with network
engineers and film laboratory techni¬
cians toward the goal of improvement.
When producers in Hollywood first
started making films for video, there
was a cautious approach to the lighting
and the photography in view of the very
poor results that the networks were
achieving in the telecasting of old fea¬
ture films. Perhaps it was because cer¬
tain cameramen knew there was quality
in the original prints that they set about
to find the reason for the great degrada¬
tion that accompanied the reproduction
of these films on TV — a study that was
to lead them to the successful formula
for photographing motion pictures espe¬
cially for television transmission.
The “pioneers” in this field — men like
Benjamin Kline, Walter Strenge, Karl
Freund, Phil Tannura and others — -
worked closely with the engineers of the
various film laboratories and ultimately
came up with the right answers to the
problems of lighting, composition and
camera technique for TV films. Today,
much of the science which these men
developed has become standard practice
in the shooting of television films.
The quest for gretaer improvement
continues, however, and we find the
serious men who are directing the
photography of TV films continuing
their work on improved lighting formu¬
las and camera treatment in close co¬
operation with the laboratories that
process their negatives.
It is a distinct credit to these vet¬
erans of cinematography that they met
the challenge which the limitations of
television transmission at firt imposed,
overhauled their feature film photo¬
graphing technique to fit the new med¬
ium, and thereby advanced the TV film
production industry several years. To¬
day, this achievement enables a sponsor
to put a show on TV cheaper and with
better results than he could possibly do
it live. And the growing number of suc¬
cessful “live” shows that are swinging
to film attest to this.
One of the interesting things about
the recent great expansion of the TV
film industry in Hollywood is the way
big name cameramen are forsaking ma¬
jor studio assignments in favor of shoot¬
ing television films. The reason is ob¬
vious, of course. In TV film production
the director of photography and his
( Continued, on Page 38)
“continuous filming” or “live show” technique of
photographing films for TV, using three cameras
and more or less fixed set lighting. (Photo
courtesy Desilou Productions.)
EDWARD COLMAN, A.S.C., (left), who directs the photography of the “Dragnet” show.
Colman’s unique camera treatments and “corner-cutting” technique is credited with much
of the success of this popular TV series.
American Cinematographer
January, 1955
27
Adapting The
Zoomar Lens To
The Auricon-Pro
By JOHN HOKE
Because of the particular design of the Auricon-Pro 16mm
single-system camera, which has the lens rather centrally
located instead of to the left, as with most motion picture
cameras, the Zoomar-16 lens cannot be used on this camera
efficiently unless some provision is made for the operator to
fully utilize the Zoomar finder. This finder, as most readers
know, is coupled to the zoom lens and is focused automatically
with it.
Where the Zoomar-16 is mounted on the Auricon-Pro, the
case of the camera interferes with use of the finder — the body
of the camera intersecting the finder eyepiece, as may be seen
in Fig. A. The writer overcame this obstacle by installing an
arrangement of prisms, which provide an offset viewing
element for the finder, as may be seen in the photos above.
Prism No. 1 (Fig. 2) receives the finder image and projects it
to the left, where it is observed through prism No. 2 by the
operator.
This modification employed two war surplus prisms held in
proper alignment with the Zoomar-16 by a framework con¬
structed of acrylic plastic as diagrammed in the figures
below. The prisms were obtained at moderate cost from the
t
i
I
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i
l
I
I
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i
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FIG. 1 — Above diagram not only shows why the prism finder
gadget is necessary to use of the Zoomar-16 lens on the Auricon-
Pro, but also shows how it works to advantage of camera operator.
FIG. A — WITH THE offset prism viewer in place, the camera operator
can more conveniently view subject being photographed by the Zoomar
lens. Without the offset viewer, use of regular Zoomar finder is
hampered because it is too close to camera.
Edmund Scientific Corp., Barrington, New Jersey. (Cata¬
logue No. 3108. Specify right-angle prisms, 38mm x 38mm
x 54mm. — ED.).
For other Auricon-Pro owners who may wish to use the
Zoomar lens with their camera, the following instructions for
making both the prism assembly, and the supporting bracket
for the Zoomar itself (Fig. 4) may be of interest.
The prism bracket (Fig. 2) is constructed of clear Fucite
i/g-in. thick. This is obtainable in most hobby shops, as is
the cement necessary for joining the pieces together. The
various pieces — base plate, brace, prism brackets, etc. — may
be cut from sheet Fucite with the aid of a small hand coping
saw. Any rough edges may be smoothed with a file and sand¬
paper.
The size of the prisms which the reader uses will more or
less determine the size of the various segments of the bracket
assembly; but if prisms of the size already mentioned are
obtained, then the baseplate dimensions should be 4%-in. by
21/2-in. The smaller rectangle — the brace — (Fig 2) should
be ll/o-in. by l/^-in. The third and fourth segments — the
angular prism bracket pieces shown in Figs. 2 and 3 (the top
r/GL'XC 2
FIG. 2 — Method of assembling the various pieces plus prisms which
go together to form the complete offset viewfinder auxiliary. Top
prism bracket has been omitted here to show position of prisms.
28
American Cinematographer
January, 1955
FIG. B — CLOSEUP of the finished prism viewer. (Here black paint
has not yet been applied to top and bottom prism brackets.) Prism
arrangement affords convenient viewing of image by camera operator;
shows sharp, clear picture of scene as picked up by Zoomar lens.
FIG. C — As the prism device is mounted entirely on door of the Aurieon-
Pro camera, instead of on Zoomar finder itself, opening the camera door
to change film does not require removal of the Zoomar lens. When door
is closed, prism viewer is accuurately aligned with Zoomar finder.
bracket is omitted in the diagram in order to show position
of the prisms)— may be cut according to the prism dimen¬
sions shown in Fig. 3. By placing two pieces of Lucite to¬
gether, the two brackets may be cut and shaped in one opera¬
tion.
For this assembly, the larger rectangle of Lucite becomes
the base plate which holds the prism framework to the body
of the camera. The two angular brackets sandwich the two
prisms, holding them in proper alignment on the base plate,
behind the viewfinder of the Zoomar lens. The smaller rec¬
tangular piece serves as a brace to support the brackets and
give added rigidity to the whole.
The first step in the construction of the prism-holder and
base plate is to remove the regular viewfinder from the Auri-
con-Pro camera. Then position the Lucite base plate in the
same position that was occupied by the viewfinder. With a
sharp instrument mark on the Lucite location of the rear
FIG. 3 — Detail of the prism bracket, showing position of the two
prisms when cemented in place. Note that an air space of 1/16-
inch is provided between the prisms — a must.
screw hole, and the hole for the top screw in the door of the
camera. Next, drill the Lucite panel as marked, using a 3/16-
in. drill, and bolt it to the camera door, using the regular
camera screws.
To locate the two prisms on the base plate in proper posi¬
tion behind the Zoomar finder, hold one of the prism brackets
(Fig. 3) in position on the base plate, with side “A’ flat
against the base plate, as shown in Fig. 2. Then, while hold¬
ing this piece in place, position one of the prisms on the
bracket in such a way that one of the two square faces is
located directly behind the Zoomar finder. Now mark posi¬
tion of the prisms on the bracket, and the position of the
prism bracket on the base plate.
When these positions have been determined and clearly
marked, the next step is to cement the prism bracket to the
base plate. With a small artist’s brush, apply the plastic
cement to the joint formed by the base plate and the prism
bracket. Hold bracket firmly in position long enough to
permit a firm bond to develop between the two pieces of
Lucite.
The two prisms are next cemented in place. For this use
an acetate bond such as Duco plastic cement. Apply the
cement to the surface of the prism bracket, then set prism #1
(Continued on Page 47)
/?/&(// p<r 4-
FIG. 4 — Detail of support for the Zoomar lens which fits on the
two matte box rods extending from front of camera. This is
companion piece to prism viewer, is necessary to hold Zoomar rigid.
American Cinematographer
January, 1955
29
Budget Training Film Production
The company-owned film production unit can make important
contributions toward efficient and profitable operations.
By ARTHUR H. SMITH
preceded actual shooting. H. J. McGinnis, Toll Test Center
supervisor, who had made the initial request for the film,
became technical advisor. He also drafted the shooting script
and played himself in the picture. And since McGinnis was
stationed at the company’s plant in Santa Rosa, Calif., it was
decided to shoot the picture there.
During the first day and a half of production, we were
shooting interiors at the Toll Test Center. Readers who are
familiar with telephone company equipment centers will ap¬
preciate the problems of lighting and selecting camera setups
that we encountered here. And since this production was in
16mm Kodachrome, considerable lighting units were required.
One of our more vexing problems was locating the proper
power circuits for our lights. Most were protected by 15-
ampere circuit breakers. We found that we could draw about
18 amperes for about a minute and a half on such circuits
before the breaker would operate.
Our lighting equipment consisted of a 2000-watt Junior
spot, four double No. 4 photoflood broads, two 750-watt Baby
Keglites, and two single No. 4 photofloods. Only in a few
shots were all these pieces of equipment used at one time. In
changing from full to medium shots and then to closeups, we
were able to eliminate unnecessary lights. However, in making
those shots where all light units were required, it was a
virtual panic. We'd plug ’em in, turn ’em on, and count the
seconds. If they held for 30 seconds, we considered the con¬
nection okay, since few takes we made required sustained
shooting for that length of time.
( Continued on Page 40)
When the plant training group of the Pacific Telephone
Northern California & Nevada Plant Department set up
its visual aids section seven years ago, a major part of the plan¬
ning included the establishment of a company unit for the
production of training films. Until then, the main source of
such films had been from outside producers or the A. T. & T.
The great need was for company-produced films that would
deal more specifically with local problems.
Recently, the 27th film made by the company’s film pro¬
duction unit was completed. Because its method of production
followed pretty closely the pattern set by predecessor films,
and because it demonstrates what an important contribution
a film production unit such as this can make toward building
efficiency for a large company employing great numbers of
people, it may be interesting to set down here how the unit
functions and how it meets its many problems despite limited
budgets and personnel.
The film, titled " Total Failure Healdsburg North,” was
designed to serve as a training aid in a special program deal¬
ing with the emergency restoration of toll cable facilities. In
this case, there was no other film available, as far as we knew,
dealing with this problem.
As with all successful film productions, careful preplanning
TYPICAL of the close quarters encountered in the shooting
of Telephone company training film. Location is interior of
Toll Test Center. Ken Barron at camera; author Smith hold¬
ing tape.
PREPARING to shoot closeups of operators handling calls in Telephone
company Toll Operating Room. Cameraman Barron focuses his 63mm
lens while author Arthur H. Smith studies the operator's actions for best
camera angle for subsequent shots.
30
American Cinematocrapher
January, 1955
EASTMAN
PROFESSIONAL
MOTION PICTURE
FILMS
W. J. GERMAN, INC.
Fort Lee Chicago Hollywood
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Ford Foundation Twentieth Century-Fox, Inc.
University of Wisconsin Gospel Films, In
National Film Board of Canada Cine Associate
R.K.Q. Radio Pictures, Inc. Pacific Picture
Gil Allan Bros., Inc. U.S. Air Forces Wcstingho
Iowa Conservation Commission Providen
Fairchild Recording Equipment Co. Galbreaf
Magnolia Petroleum Co. Kearney & Trccker Coi
W K A Q, San Juan, Puerto Rico Stale Colli
Naval Air Station Reeland-King Film Productions
Columbia Pictures Providence Bible Institu
Television Recording Service, Inc. Iowa Farm Bur*
Westinghouse Electric Corp. Sound Recorders, I
Viguie Productions, Inc., Havana U.S. Navy Nort
Paramount Pictures Corp. Baptist Gospel FilrJ 1
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Bible Institute of Los Angeles University of Tennessee 1
University of Mississippi Rampart Productions St
Protestant Radio Center, Inc. ? U.S. Recording Co. j
South Dakota State College Aspen Pictures Dallas Joi
Twentieth Century-Fox, Inc. Filmseoptj
U.S. Air Forces Magnolia Petroleum Co.
Southwest Film Laboratory, Inc. Gilfillan B
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Kearney & Treeker
University of lo
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Goodyear Aircraft Corp.
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TRI-X IN FEATURE
FILM PRODUCTION
Both pictorial and economic advantages
obtained through use of newest “speed”
film in shooting “Black Tuesday.”
By STANLEY CORTEZ, ASC
Almost since the very beginning of feature film produc¬
tion, directors of photography have demanded more and
more speed in negative films. As a result, panchromatic him
replaced the orthochromatic him of early days, and subse¬
quently new pan emulsions were introduced which were
steadily improved. Each new advance brought a new label
Super-Pan. Super XX Pan, Plus X, and finally the new
“wonder" him, Eastman Kodak’s Tri-X.
Eastman, of course, disdains any reference to this new stock
as “wonder” him, yet when we consider its remarkable speed
— ASA 200/250 — it can truly be considered so.
Until recently, Tri-X had been chiefly used in specihc
photographic assignments. Then, a little later, some television
him producers employed it as a means of attaining further
production economy and increased pictorial quality in the
transmitted image.
Recently, Tri-X was used for the hrst time in Hollywood in
the production of 98 per cent of a feature picture. “Black
Tuesday,” which I photographed for Leonard Goldstein Pro¬
ductions, employed Tri-X for all scenes save a very few ex¬
teriors. After seeing the results on the screen, I believe that
“AFTER seeing screen results of Tri-X used in shooting ‘Black
Tuesday,’ says Stanley Cortez, ASC, “I believe it has great pos¬
sibilities for the production of feature films.”
Tri-X has great potentialities in the production of features in
black-and-white.
“Black Tuesday” is a tense melodrama about a killer con¬
demned to die in the chair. The day of the execution, accom¬
plices outside the prison arrange to liberate him just moments
before the execution. The killer’s next move is to locate the
loot which was taken in a bank robbery prior to his arrest,
and which was hidden before he was caught.
The action throughout the picture is tense and staged in
drab surroundings, reminiscent of the films of the “gangster
era” a decade ago.
( Continued on Page 44)
A GREAT many of the scenes for “Black Tuesday”
were shot in rugged interiors, either on sound stage
or location. Here camera is being focused on Edward
G. Robinson and Jean Parker.
A TYPICAL INTERIOR scene in “Black Tuesday,” where Cortez’s use of Tri-X
film enabled him to gain great depth of field and at same time work with a
minimum of light units. In scene are (I. to r.) Victor Perrin, Sylvia Findley, Hal
Barlor and Jack Kelly (on bed).
American Cinematographer
January, 1955
33
Movies Without A Camera
Norman McLaren draws his movies on film by hand or scratches
abstract designs on black leader with a pin.
By HAROLD BENSON
ONE MIGHT think that no story, no script, no conferences,
no camera, no shooting and no processing could only
mean no film. Yet Norman McLaren, “the only name now
connected with motion pictures in Canada that means any¬
thing outside of the country,” to quote a Toronto critic, owes
his reputation to movies made with just these limitations.
Of course, he does use a camera for occasional films, though
never quite like anyone else. His pixillated production,
Neighbours, described in the November issue, is one example.
But usually McLaren prefers to dispense with the processes
which he feels tend to restrict a film maker’s efforts at getting
really personal work onto the screen.
His technique was born twenty years ago when, as an
eighteen-year-old student at Glasgow School of Art, he soaked
the emulsion off a worn-out 35mm print and hand-painted a
300 ft. abstract film with color dyes. Later Color Cocktail, a
200 ft. 16mm production made in a similar way, won an
award at the Scottish Amateur Film Festival, and so excited
John Grierson, the British documentary pioneer, that he took
McLaren to London and set him to work at the G.P.O. Unit,
FIG. 1 — Norman McLaren examining sequence for “Begone Dull
Care, ' an abstract film made by applying the design by hand
directly to the film. No photographic process was involved.
where the most advanced experimental work in Europe was
being done.
McLaren responded well to the congenial environment.
Among the shorts he produced in this period was Love on the
Wing, which made further use of the hand-drawn cameraless
technique.
In 1939 McLaren emigrated to America with only a
hundred dollars in his pocket. Luckily he was introduced by
an NBC television engineer to a few wealthy folk who paid
him to decorate their homes with murals. Meanwhile he made
several more abstract films, including Allegro, Scherzo, Dots,
Loope, Stars and Stripes and Boogie Doodle, and sold a few
to the Guggenheim Museum of Non-Objective Art.
During a brief spell as script and lyric writer with Caravel
Films, Inc., New York, McLaren was again contacted by
Grierson, who put him in charge of animation at the National
1 ilm Board of Canada. The five wartime propaganda films
which McLaren produced for the N.F.B. — Mail Early, V for
Victory, Five for Four, Hen Hop and Dollar Dance — were all
made without a camera. So were three of McLaren’s best-
known post-war productions, Hoppity Pop, Fiddle De Dee and
Begone Dull Care.
There are two principal techniques employed by McLaren
in making his cameraless films. The first is used for the pro¬
ductions which he says are simply designed “to give the in¬
tellect a rest, and have evolved from his earliest experiments
with color dyes. This kind of film presents a non-stop series
of vigorously changing patterns accompanying equally
vigorous music. (Fig. 1.)
In Fiddle-De-Dee, the track was of “Listen to the Mocking
Biid played by an old-time fiddler. Begone Dull Care was
made to music played by the Oscar Peterson jazz trio.
Dazzling colors dart about the screen at a breathtaking pace,
yet still convey innumerable subtle hints and asides about the
music they illustrate. No one is more thrifty with footage than
McLaren. At the end of Begone Dull Care his own name is
scratched on a single frame followed by ten or twelve frames
of black leader. Persistence of vision does the trick.
The tremendous pace of these abstract films is hardly sur¬
prising; McLaren explains that the technique he uses largely
ignores individual frame divisions. In other words, the film is
hand-painted two or three feet at a time. There is no attempt
at creating an image by image effect.
In making Fiddle-De-Dee, McLaren used celluloid dyes,
inks and transparent paints, and frequently painted on both
sides of the clear 35mm film. He achieved his textures by
brush stroke effects, scratching off the paint, spraying,
stippling and mixing different types of dyes on the film to
provoke a kind of “oil-and-water” reaction.
The sound track had been measured before painting began,
of course, and the lengths in which the film was painted were
metrically organized to fit the music. The painted film acted
as a master positive for all subsequent color release prints.
In Begone Dull Care, McLaren and his assistant, Evelyn
Lambart, went one stage further and made a considerable
34 • American Cinematographer • January, 1955
FIG. 2 — McLaren at work with apparatus he invented for his single-frame FIG. 3 — Tracing image with ink. Note frames which
“drawing-on-film” technique. Image drawn on last frame is reflected in have preceded this one. Film is automatically advanced
turn onto next frame of film, enabling McLaren to trace it with ink. a frame at a time as each drawing is completed.
FIG. 4 — McLaren scratches some “doodles” on a strip of film which
has been coated with opaque paint for one of his abstract,
“cameraless” motion picture productions.
part of the film on a running moviola. For some sequences
a sponge was used to apply a quick-drying paint having a cel¬
lulose base (“Craftint”) to the film as it ran through the
machine. By moving the sponge from side to side stripes
were made to sway across the film. Another sequence in¬
volved scratching lines on running black leader with a pin.
(Fig. 4.)
A tooth comb, ball bearings, lace, hair nets and gear wheels
also were used in applying the paint. An ordinary fly spray
gun shot the stuff onto the film through everything from dish¬
cloths to chicken wire to give different textures. (Fig. 5.)
Some of the film was sandpapered before the paint was ap¬
plied to give a smoky result. Doodling with a pointed knife
on a layer of paint was tried, and found successful. Both
FIG. 5 — Rollers are used where patterns or designs are to be
repeated. Textured design which preceded the rolled-on pattern
was created by spraying color through cloth netting.
acetate and nitrate stock were used, and every surface reacted
differently to the paints.
But Fiddle-De-Dee and Begone Dull Care ' were simple to
produce compared with such films as Hen Hop , Dollar Dance
and Boogie Doodle, which used McLaren s second principal
animation technique. In these cases individual frames are
respected, and the subject, be it chicken, dollar or doodle, is
actually drawn direct onto each frame in turn. This means
over 7,000 drawings for a five-minute film.
Obviously characters have to be reduced to a minimum for
work of such immensity. Fortunately McLaren has a genius
for expressing emotion through the simple movements of
matchstick figures. This is the system he uses in producing a
film of this nature.
( Continued on Page 50)
American Cinematographer
January, 1955
35
DON’T FORGET to have people active in your scenic travelogue
shots! Here a cine photographer records the architectural beauties
of San Xavier Mission in Tucson, Arizona, while members of his
family supply human interest to the scene.
The Author, Charles W. Herbert, is a veteran cinematogra¬
pher who has photographed newsreels and documentary
films throughout the United States, and in just about every
important country on the globe. With this background of ex¬
perience, he is in position to advise the aspiring amateur
movie maker and the semi-professional on interesting and
unusual movie making subjects and their locales.
The following article is the second in a series which Mr.
Herbert is writing especially for readers of American Cine¬
matographer. Each article will dwell on the filming opportun¬
ities in specific locales or regions easily accessible, and while
the reader may not find it immediately opportune to visit the
filmi ng locations described by Mr. Herbert in each of his
articles, there is the possibility, of course, that he may pass
that way at some future date. In such event, the articles, if
saved, will serve as valuable reference and guide to the best
professional filming procedure — may even provide the an¬
swer to the reader's annual question of “Where to go?” for
his next vacation or movie making trip. — EDITOR.
Amateur movie makers generally fall into two classifica¬
tions: 1 ) those who never progress beyond the “snap¬
shooting" stage of making movies around the home of family
and friends, and 2) those who, inspired by the creative
possibilities of the cine camera, seek broader horizons to
challenge their ability and ingenuity.
for the latter, the documentary or travelogue type of film
affords, perhaps, wider scope for creative filming by those
who have not yet reached the professional stage of movie
Travelogues Offer
Filming Challenge!
Some worthwhile tips from a pro¬
fessional cameraman on shooting
movies of professional character.
By CHARLES W. HERBERT, A.S.C.
making. Moreover, here is the most logical field in which to
attain professional proficiency. The filmer can still include
his family and friends in his pictures, but now the pictures
take on more significance than films that simply showed them
in meaningless action. The most logical beginning for a
travelogue is to show a group of people — your family and
friends, perhaps — starting for a certain destination, which is
to be pictured in detail, in chronological order, and put to¬
gether with a beginning, a middle and an end.
Thus it is natural to start the picture with shots showing
the start of the trip; with good light a number one requisite
for good color filming, and with pleasant weather essential to
keep your “cast" happy and contented, it’s a safe rule to
"follow the sun in choosing the locale of your travelogue.
For the reader's guidance. I'll outline here a procedure to
follow which is patterned after the routine I have used in
scouting and photographing material for more than 100
travelogues made for theatrical exhibition:
First, do all the research you can beforehand on the locale
you plan to visit and photograph. Gather and study brochures,
maps, travel stories, National Geographic features, etc., which
will acquaint you with the area that will be the subject of
your filming.
After careful study of this material, make a detailed list
of the places, people, and events typical of the locale and
( Continued on Page 4RJ
ACTION! There s plenty of it all the time on Arizona cattle
ranches. Most ranchers welcome visiting photographers, and will
often stage an activity especially for the camera.
36
American Cinematographer
January, 1955
You put brilliance into every frame
when you use Ansco Hypan Film
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I hat’s why every frame is crisper and has more sparkle. Ansco Hypan
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I hat’s why it’s ideal for all-around movie-making,
indoors and outside.
More, Ansco Hypan is priced surprisingly low. 1 hat’s why it lets you
take more Hrst-quahty movies for your money.
lake advantage of the quality, versatility and economy of Ansco
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THE BIG SWITCH IS TO TV!
(Continued, from Page 27)
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P.O. Box 46834, Hollywood 46, Calif.
crew, work not more than 2 or 3 days
each week; but the work is steady week
after week and the pay is good. Where
a cameraman does more than one show
a week — as does Walter Strenge (“My
Little Margie,” “Waterfront”), Karl
Freund (“I Love Lucy,” “December
Bride,” “Our Miss Brooks”), Phil Tan-
nura (“Burns and Allen Show.* “Jack
Benny Show,”), and others — he may
work a full five or six day week; but
the average time required to light, re¬
hearse and shoot a “series * show is 2
to 3 days.
As it was predicted only 24 months
ago, Hollywood has become the tele¬
vision film production capital of the
world. The number of TV shows being
produced there on film is steadily in¬
creasing. As of December 24th, 1954,
there were 53 TV film shows in produc¬
tion in 21 different studios. A year ago,
the number of shows in production to¬
taled 33.
Now being produced in Hollywood
are: “So This Is Hollywood.” “The Ray
Bolger Show,” “The Lone Ranger. "I
Married Joan,” “Dear Phoebe,” “I Love
Lucy,” “Willy,” “December Bride.”
“Lineup.” “Our Miss Brooks,” “Read¬
er's Digest.” “The Millionaire,” “You
Bet Your Life,” “Gene Autry,” “Annie
Oakley,” “The Star and The Story,”
“Four Star Theatre,” “People Are Fun¬
ny,” “Confidential File.” “Life With
Elizabeth,” “Florian Zabach Show.”
“The Liberace Show,” “The Loretta
Young Show.” “Topper,” “The Whist¬
ler,” “Make Room For Daddy,” “Burns
and Allen Show,” “The Jack Benny
Show.” “The Bob Cummings Show,”
“Life With Father,” “Medic,” “Schlitz
Playhouse of Stars,” “Where Were
Y ou,” “Here Comes Donald,” “Treasury
Men In Action.” “Man Behind The
Badge,” “It’s A Great Life,” “Ylayor of
the Town,” “Pepsi Cola Playhouse,”
“Adventures of Kit Carson,” “The Ray
Milland Show,” “My Little Margie,”
“Stu Erwin Show.” “Amos *n Andy,”
“Waterfront,” “The Life of Riley,”
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night,” “Father Knows Best,” “Ford
Theatre,” “Rin Tin Tin,” “Dragnet,”
“The Korla Pandit Show,” “Adventures
of Ozzie and Harriett,” “Superman,”
“Lassie," “I Led Three Lives,” “Meet
Corliss Archer,” and “Cisco Kid.” (Not
all shows are shooting as this is written;
only 53 ; as stated above.
Directing the photography of most of
the films in the various TV series listed
above and produced during 1954 were
some forty A.S.C. cameramen. With few
exceptions, they are veterans with many
years experience in photographing fea¬
tures in the major studios. Some have
won Academy Awards for photography.
Their names, and the TV film series
which they photographed entirely or in
part during the past year are as follows:
Lucien Andriot, A.S.C. — -“Life of
Riley.” “Where WYre You.” “Meet The
O'Briens.” “It*s A Great Life.”
Joseph Biroc , A.S.C. — “The Lone
Wolf,” “The Family Next Door,” “Trea¬
sury Men In Action,” “Dear Phoebe.”
William Bradford , A.S.C.- — -“Gene
Autry.”
Norbert Brodine. A.S.C. — “Letters To
Loretta.”
Dan Clark , ,4 .S.C.—“ Cisco Kid,” “I
Led Three Lives.”
George E. Clemens. A.S.C. — “Schlitz
Playhouse of Stars.”
Edward Colman, A.S.C. — “Dragnet.”
Floyd Crosby, A.S.C.- — “Royal Canad¬
ian Mounted Police,” “Author’s Play¬
house.”
Robert DeGrasse, A.S.C. — “Make
Room For Daddy,” “Ray Bolger Show.”
George Diskant, A.S.C. — “Four Star
Playhouse.”
E. B. Du Par, A.S.C.— “ Tim McCoy
Show.”
Ellsworth Fredericks, A.S.C. — “The
Dennis Day Show.”
Henry Freulich, A.S.C. — -“Captain
Midnight.”
Karl Freund, A.S.C.- — “I Love Lucy,”
“Our Miss Brooks,” “Willy,” “Decem¬
ber Bride.”
Frederick Gately, A.S.C. — ‘ ‘ Big
Town,” “Mayor of the Town.”
Alfred L. Gilks, A.S.C.—' '‘Halls of
Ivy.”
Jack Greenhalgh, A.S.C. — Religious
him series for Family Films.
Russell Harlan, A.S.C. — “Playhouse
of Stars.”
Sid Hickox, A.S.C.—' “Willy,” “De¬
cember Bride.”
Benjamin Kline, A.S.C. — “G. E. Thea¬
tre,” “Fireside Theatre.”
Jack MacKenize, A.S.C. — “Hank Mc-
38
American Cinematocrapher
January, 1955
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Cune Show,” “Public Defender,” “Pass¬
port To Danger.”
William Mellor, A.S.C. — “Adventures
of Ozzie and Harriett.”
Ernest W. Miller, A.S.C. Rocky
Jones, Space Ranger,” “Stu Erwin
Show.”
Virgil Miller, A.S.C,— 1 You Bet Your
Life.”
Hal Mohr, A.S.C.— ‘‘The Joan Davis
Show,” “That’s My Boy,” “Bob Cum¬
mings Show,” “Life With Father.”
Nic/c Musuraca, A.S.C. — “The Lone
Wolf,” “Lineup,” “Four Star Play¬
house.”
Kenneth Peach, A.S.C. — “Mr. & Mrs.
North,” “Topper,” “Adventures of the
Falcon,” “Here Comes Donald.
Robert Pittack, A.S.C. — “Cavalcade
of America,” “Private Secretary,” “The
Lone Ranger.”
Guy Roe, A.S.C. — “Rocky Jones,
Space Ranger. ’
John L. Russell, Jr., A.S.C. — “Joe
Palooka.”
William Sickner, A.S.C.— “The
Whistler.”
Mack Stengler, A.S.C. — “Life With
Elizabeth,” “The Liberace Show,” “The
Florian Zabach Show.”
Alan Stensvold, A.S.C. — “Andy’s
Gang.”
Harold Stine, A.S.C. — “Cavalcade of
America,” “Corla Pandit Show,” £ Sup¬
erman.” (Continued on Next Page)
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American Cinematographer
January, 1955
39
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Walter Strenge, A.S.C. — “My Little
Margie,” Rocky Jones, Space Ranger.”
“Waterfront.”
Stuart Thompson, A.S.C. — “Topper,”
“Lassie.”
Phillip T annum , A.S.C. — “The Burns
and Allen Show,” “The Jack Benny
Show.”
James Van Trees. A.S.C. — “For The
Defense,” “I Married Joan,” “Hey,
Mulligan.”
Gilbert W ar rent on. A.S.C. — “Chevron
Theatre.”
Harold E. Wellman, A.S.C. — “Mr.
bun.
Lester White, A.S.C. — “Adventures of
Rin Tin Tin.”
Here is a summary of the filming
technique which Hollywood directors of
photography have established as more
or less standard for the production of
films for television. The most notable
general departure from standard motion
picture practice is that relating to sub¬
ject lighting contrast. The density range
of a print for television transmission
should be lower than standard theatre
film prints by 0.3. This means that in
the photography of films for TV, subject
lighting contrast should be employed
which is considerably lower than that
which is normally used for conventional
black-and-white feature film photogra¬
phy-
Normal lighting contrast and exposure
may be employed providing the proces¬
sing conditions of the negative or posi¬
tive, or both, is altered in order to ob¬
tain an overall reproduction gamma
which is lower than normal.
A third procedure involves use of
normal lighting contrast and exposure,
processing the negative and prints in a
normal manner, but printing the posi¬
tives lighter by 2 or 3 printer lights
than would normally be used for feature
film prints.!
! “The Use of Motion Picture Films In
Television,” Eastman Kodak Company.
LOW BUDGET TRAINING FILM PRODUCTION
(Continued, from Page 30)
Perhaps our biggest lighting problem
was encountered when shooting in the
long, narrow room of the Test Center.
Here the 2000-watt Junior spot was used
to throw light on the rear wall at the
back of the set. Then all available photo-
Hoods were set up to light the area where
ihe action was to take place. Baby Keg-
lites were used to highlight certain areas
of the equipment racks so there wouldn’t
be a large black “cave at rear of the set.
In one instance, where it was physi¬
cally impossible to pour enough light into
a scene, we shot it at 12 frames per sec
ond and had the men appearing in it
move about and perform their opera¬
tions very slowly. This gave us the
equivalent of a one-stop increase in ex¬
posure.
The camera used was a Cine Special,
for which we had a 200-ft. and a 100-ft.
film magazine. By having both maga¬
zines loaded before shooting started each
day, we were always prepared to shoot
for at least half-a-day without having to
reload the magazine again.
Our complement of lenses consisted of
a 25mm, a 15mm wide-angle, and a
63mm telephonto. V e used the 25mm
for most of the exteriors, the wide-angle
for many interiors, and the 63mm for
close-ups of detailed operations in the
splicing of cables.
Although the Cine Special is equipped
with a critical focusing device, we used
this focuser only for checking composi
tion. We always ran a tape on each shot,
except extreme closeups, to insure ac¬
curate focus.
One shot in the script called for
identifying the contents of a workmen's
emergency kit. It was decided to make
it in a dolly shot. The various parts and
tools were arranged in a straight line on
the floor. The camera was mounted on a
baby tripod set up on a dolly. Also
mounted on a support attached to the
dolly was a Baby Keglite. As the dolly
moved forward the light from the Baby
Keg spotlighted each item as it was
photographed.
In order to shoot this scene in sync
with pre-recorded narration, the narra¬
tion was played back as the scene was
shot ; the camera operator moved the
dolly forward, stopping momentarily on
each item as it was described by the
narrator, then moved on to the next.
The camera dolly was employed a
number of times throughout the produc¬
tion. In several instances we moved in
from a medium shot to a closeup to em¬
phasize some salient point. And in the
closing shot of the picture, the camera
follows the supervisor as he moves down
the room congratulating the men on a
job well done. Still another time we
found that we could not move the cam¬
era far enough back to take in the area
desired, even with a wide-angle lens. So
the camera was again mounted on the
dolly and moved with the subject as he
changed position from one desk to an¬
other.
Our baby tripod came in handy on
more than one occasion when shooting
in narrow quarters. We also mounted the
camera on desks, boxes .or cabinets, and
40
American Cinematographer
January, 1955
one time we made a very effective dolly
shot with the camera mounted on the
step of a rolling ladder.
There is often little in the way of plot
or story line in training films. But in
this film, we had plot and time was the
villain. .Our story line concerned an un¬
expected break in a telephone toll cable,
which occured when a bulldozer on a
construction job dug too deep in an un¬
charted area. A toll operator at the tele¬
phone office is the first to become aware
of the trouble. The supervisor is called,
and she notifies the Toll Test Center.
Here trained testers set to work, quickly
locate the break and very soon have it
repaired.
For scenes of action at site of the
cable break, we selected a gravel quarry.
On either side of a cut in the earth, made
to simulate the swath cut by the bull¬
dozer, we buried short lengths of cable,
which had been prepared beforehand.
One end of each piece of cable was cut
up and “damaged,” while the opposite
end was prepared for splicing. These lat¬
ter were carefully wrapped and then bur¬
ied in the earth, leaving the jagged or
“damaged” ends protruding.
After we made the shots showing dis¬
covery of the break and the arrival of
the emergency crew, the cable sections
Avere dug up and buried again with the
clean ends, ready for splicing, exposed.
In this Avay. we encountered no delay in
( Continued on Next Page)
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American Cinematographer
January, 1955
41
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shooting, since it would have required
considerable time to remove the lead
sheath and other coverings of the cables
at the location site and make the cable
sections ready for splicing.
We followed the accepted practice of
shooting all shots from the same camera
angle at the same time (or same camera
setup), and as a consequence confused
the cable splicers working in the picture.
In quick succession, we shot all the full
shots at this location, then all the med¬
ium shots, and finally all the closeups.
As the plot of the film unfolded, less and
less cable pairs would be unspliced.
Then, after we changed our camera set¬
up, we would take some of the spliced
pairs, unsplice them, and start over
again. This was done to make the con¬
tinuity match, but to the cable splicers
it made no sense whatever!
On the afternoon of the last day of
the production, cameraman Ken Barron
and I went out on location to shoot
scenes of an actual toll cable. These
scenes were to serve as an opening se¬
quence for the picture. We had already
taken “Shot 1” twice along with some
other shots; but we still had 25 feet of
film left in the camera, and Barron, not
being satisfied with the shots he had
previously made, suggested we make i
third attempt. Oddly enough, it was this
third take that we selected for editing
into the film. And that is how the first
shot in the picture happened to be made
last.
TECHNICAL PROGRESS IN 1954
( Continued from Page 25)
the system, and by late summer had
demonstrated Vista Vision projected from
full double-frame prints, using a special
projector in which the print travels
horizontally past the gate, the same as
does the negative in the VistaVision
camera. (Amer. Cinematographer for
November, 1954, page 574.)
While Metro-Goldwyn-Mayer studio is
employing CinemaScope for its wide¬
screen productions, it has been working
on its own version of wide-screen. At
intervals during the past two years
rumors have emanated from M-G-M that
its engineers were at work on newer and
greater wide-screen cameras. However,
as yet, none of these rumors have cul¬
minated in a public demonstration of the
equipment.
It can be said, however, that M-G-M,
which has continuously encouraged its
executives and engineers in research and
development to improve the technical
quality of motion pictures, definitely has
some startling and solid developments to
reveal. John Arnold, A.S.C., head of
the studio’s camera department for more
than 30 years, has developed a new
camera having horizontal film travel on
the order of Paramount’s VistaVision
camera. However, Arnold’s design pro¬
vides for readily interchangeable film
movements, affording a range of frame
dimensions from six to ten sprocket
holes in length.
Another development by Arnold for
M-G-M is a camera that uses 35mm film
which appears like super-size 16mm in
that there are just two sprocket holes —
one at either side — at each frame line,
instead of the conventional four in
standard 35mm film. This permits ex¬
tending the picture area — making it
wider — right and left into the area nor¬
mally occupied by the sprocket holes.
Arnold and his studio technical as¬
sociates are presently working on an
even more advanced motion picture
camera, which will record the largest
picture area yet — a frame dimension
1%" in height by 214" in width. Such
a large negative image, it is claimed,
would enable the studio to make reduc¬
tion prints of great clarity and sharpness
in any aspect ratio, including Cinema-
Scope, without resorting to the use of an
anamorphic taking lens.
An account of cinematographic ac¬
complishments in 1954 should include
also an appraisal of the Todd-AO sys¬
tem, and especially of the Todd-AO
camera itself, which was described in
the October, 1954, issue of American
Cinematographer. While developments
on this camera had begun prior to 1954,
it was not until early last year that
the present Todd-AO cameras were com¬
pleted and put into use in the shooting
of the Rodgers and Hammerstein pro¬
duction, “Oklahoma!” at Metro-Gold¬
wyn-Mayer studios.
Todd-AO is the only one of the new
super-wide-screen systems that employs
film stock of larger dimensions than
standard 35mm. Todd-AO cameras use
65mm film for negative, which is
printed on 70mm stock — the additional
width accommodating the sound track.
On the same order as Cinerama in
screen size, but considered vastly
superior, since it is photographed with
only one camera and projected with only
one machine instead of three, Todd-AO
gives the spectator a terrific sense of
audience participation. Aspect ratio is
2 to 1. and projection is on a curved
screen having a high reflectance surface.
As with Cinerama and CinemaScope,
stereophonic sound is employed.
Todd-AO’s major accomplishment was
42
American Cinematographer
January, 1955
in perfecting a lens system whereby it
could pick up with a minimum of dis¬
tortion a scene having a 2 to 1 aspect
ratio and put it on 65mm film. The
front element of many of the Todd-AO
lenses is about the diameter of an aver¬
age dinner plate. Whereas the company
began with a camera having a single
lens, there is now a choice of four
lenses that may be used. Unlike the
lenses used on standard 35mm cameras
(such as- the Mitchell), which vary in
focal length, the Todd-AO lenses are
classified according to their angle of
coverage, which ranges from 128° to
37°. Robert Surtees, A.S.C., ace M-G-M
director of photography, has the distinc¬
tion of being the first to photograph a
full-length feature with the Todd-AO
system. This is the Rodgers and Ham-
merstein production, “Oklahoma!” still
shooting at M-G-M. (See Amer. Cine¬
matographer for October, 1954, page
494.)
In the realm of motion picture photo¬
graphy, other notable accomplishments
during 1954 included the development
by Bell & Howell Company of a practical
anamorphic lens for CinemaScope-type
photography with 16mm cameras. Bell
& Howell’s lens, tradenamed Filmorama
( See Amer. Cinematographer for Octo¬
ber, 1954, page 504), is said to be pat¬
terned after the 20th Century-Fox
CinemaScope lens. It can be used on
all existing 16mm cameras.
Arnold & Richter, of Germany,
makers of the Arriflex camera, made a
major contribution when it developed an
anamorphic lens for its 35mm camera,
permitting cameramen to make hand¬
held shots in CinemaScope with com¬
parative ease. (See Amer. Cinemato¬
grapher for July, 1954, page 344.)
Thanks to the Bell & Howell and the
Arnold & Richter anamorphic lens de¬
velopments, it became possible this year
for the first time for 16mm producers to
make quality CinemaScope-type films;
also, for many of Walt Disney’s roving
cameramen to gather super wide-screen
footage for coming Disney short subjects
in the CinemaScope format without hav¬
ing to use the larger studio camera
equipment.
Last year saw an unprecedented
number of underwater photographic as¬
signments for Hollywood’s directors of
photography. The most renowned, per¬
haps, if not the most challenging, was
Walt Disney’s color and CinemaScope
production, “Twenty Thousand Leagues
L nder the Sea.” The underwater scenes
were photographer by Till Gabbani
(Amer. Cinematographer for June, 1954,
page 282). For this assignment, Disney
engineers designed and constructed a
very efficient streamlined, pressurized,
underwater blimp to take the Mitchell
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American Cinematographer
January, 1955
43
camera with a CinemaScope lens. This
has a built-in power source for the
camera motor, and precise external re¬
mote controls for rackover, setting the
lens stop, and focusing.
RKO studio achieved a somewhat less
artistic job but a nonetheless efficient one
in the construction of two bl imped
cameras for filming underwater scenes
for its production of “The Big Rain¬
bow.” This production, as did others
like it, posed the problem of providing
sufficient power to drive the cameras for
long periods of time without need for
power fed from above by cumbersome
cabl es. RKO engineers utilized a com¬
pact non-spillable wet storage battery,
which was built into the camera blimp.
(Photos of the two cameras appear on
page 25. — ED.). During the produc¬
tion, approximately 45,000 feet of Him
was photographed in color over a period
of approximately six weeks in the studio
tank and, later, 2 weeks in Hawaii.
Perhaps the most advanced and suc¬
cessful undertaking in the matter of
underwater camera blimp design was
achieved last year by Metro-Goldwyn-
Mayer studio, whose technicians de¬
signed and constructed two for the pho¬
tography of underwater scenes for the
M-G-M color and CinemaScope produc¬
tion, “Jupiter’s Darling.” (See Amer.
Cinematographer for September, 1954,
page 440.)
These blimps were unique in that they
had tubular stabilizers attached at the
top which controlled and maintained
position of the cameras while under¬
water. The feature permitted tilting the
cameras at an angle, up or down, right
or left, and operating them in such posi¬
tions without the need for supporting
them on a tripod.
An interesting development last year
was the follow-focus attachment for
Mitchell cameras, which now7 enables
owners of Mitchell NC, Standard, and
16mm cameras to broaden the scope of
their photography by including follow-
focus and dolly shots. Easy to install
and remove, the attachment couples the
finder directly to the camera lens, and
assures full control of picture framing
and lens focusing, particularly at close,
critical ranges.
The use of an electronic viewfinder
with studio cameras, such as the
Mitchell, has been under consideration
for some time. Last year, the idea came
a step closer to fruition when Len Roos,
A.S.C., demonstrated the first of the
Kinevox-Kay Lab electronic finders, now
undergoing further refinement. The
finder, which is virtually a miniaturized
television camera, is mounted on studio
cameras in place of the standard Mitchell
viewfinder. Its lens has the same range
as the film camera lens and the image is
reproduced on a TV screen at the rear
•
of the finder. “Slave or monitor re¬
ceivers may be placed at convenient
points on the sound stage or near the
camera, permitting the director of
photography and others to observe the
scene during lineup and shooting with¬
out going near the camera.
( A1 Simon, of MeCadden Corp., Hol¬
lywood, producers of TV films, has a
similar development under way which
may be ready for demonstration early
this year.)
Most outstanding development in film,
of course, was Eastman Kodak Com¬
pany’s Tri-X. which went into first
practical use in the industry last year.
Following demonstration in Hollywood
of highly interesting Tri-X tests, several
of the industry’s cameramen have
already employed it in the production
of television films. More recently,
director of photography Stanley Cortez,
A.S.C., used Tri-X in photographing 98
percent of the Leonard Goldstein pro¬
duction, “Black Tuesday,” marking the
first time this film has been used in
photographing a major Hollywood
feature. (See story elsewhere in this
issue. — ED.). At this writing, Tri-X is
also being used in a second feature pro¬
duction, “Blackboard Jungle,” which
After reading the script the first time,
I saw possibilities in Tri-X film as the
medium best suited for interpreting this
stark drama. Having previously seen
many tests which had been made by
other cameramen with this film, I felt
that we could get a certain dramatic
quality with Tri-X that could not be
achieved as easily nor as effectively with
any other available emulsion.
It was proposed to the late Leonard
Goldstein that Tri-X be used for filming
“Black Tuesday.” After he had seen one
test shot in particular that I had made
with it in which only a single tallow
candle had been used to iiluminate the
closeup of a girl (it was the first time
such a shot had been made, I under¬
stand ) . he approved use of the film for
the picture. It should be emphasized
that Tri-X was not selected for its great
speed alone nor to permit working with
extremely low-key light, but rather to
gel the most in the way of increased
depth of field by using smaller stops
than we otherwise would do with other
negative stock.
In evaluating the potentials of this
film for feature productions, perhaps I
had an advantage over some cameramen
in that I had. many years earlier, used a
similar film w hich was the forerunner of
today s Tri-X. This was while I was in
Russell Harlan, A.S.C., is photographing
at M-G-M.
In the realm of set lighting, two im¬
portant developments of 1954 include a
new carbon developed by National
Carbon Company designed to balance
lighting to 3200° for color photography,
when used in conjunction with incan¬
descent lamps. General Electric Com¬
pany’s lamp division announced the de¬
velopment of a series of new “noise-
free” incandescent lamps for motion
picture set lighting. These include a
1000-watt general service lamp, a 1000-
watt 3200° K lamp for photography,
and a 2000-watt spotlight, also for pho¬
tographic use.
Sizing up the industry as a whole for
1954. it can be said it made tremendous
strides forward. The achievements cited
here are selected from among the most
important related directly to the photo¬
graphy of motion pictures. Twelve
months hence, we should be able to look
back over the year and reflect on ac¬
complishments eminently as important,
judging by the enthusiasm that prevails
and the impetus toward a bigger and
better motion picture business which
1954 gave the industry.
the Army and had been assigned to
photograph the Yalta Conference. This
conference, as readers probably know7,
was held in the ancient Czar’s Palace.
As we had been informed that no special
lights were to be permitted for photo¬
graphy, the special “ultra-fast film was
supplied for the recording of this very
historic event. The result wre achieved
with this film was remarkable not only
for the way it enabled us to obtain ex¬
cellent exposures in inferior light but
for a rare and unusual image quality it
gave.
In a similar way, Tri-X gave us
superb results when we filmed a
sequence of scenes on location in a
downtown Los Angeles bank for "Black
Tuesday.” Because of the great speed
of this film, we were able to get excellent
exposures using only a minimum
number of studio lights augmented by
the light from practical fixtures.
Tri-X's remarkable quality potentials
again w7ere demonstrated in the scenes
we photographed on the sound stage,
especially so on the set representing the
interior of the warehouse, where the
killer and his gang were holed up, fol¬
lowing discovery by the police. Here
we had to film scenes that represented
day as well as night, with a gradual
transition to night being evident as the
TRI-X IN FEATURE FILM PRODUCTION
(Continued from. Page 33)
44
American Cinematographer
January. 1955
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story progressed. Because it was neces¬
sary to achieve the maximum depth of
field in the shots made within the huge
warehouse interior, the ability to shoot
at small stops was a decided advantage.
It meant we could achieve the necessary
pictorial result without resorting to more
costly lighting, could maintain more
freedom of movement with the camera
without becoming too involved with
placement of lights.
Some of our most dramatic lighting
accomplishments appear in the sequence
where the police lay siege to the gang
imprisoned in the warehouse. As night
falls, the police rope off the area sur¬
rounding the building and bring up
batteries of high-powered searchlights,
which are placed at strategic points to
throw light into the warehouse interior.
Long fingers of the powerful search¬
lights probe through every crack of the
building, lighting it enough to reveal the
horrified group within — further drama¬
tizing their actions and their emotions
as the police close in.
Throughout the picture, we worked at
apertures ranging from f/2.8 to f/16.
Our negative was processed at the Pathe
Laboratory in Hollywood; developed to
a gamma of 0.65.
Naturally, with a negative film of
such great speed, there are precautions
(Continued on Page 47)
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BACK
Complete your files of American Cinema¬
tographer with issues you have missed or
ISSUES
lost. Valuable technical data in every
issue for future reference for both ama-
30c
teur and professional cinematographers.
9
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AMERICAN CINEMATOGRAPHER
(Foreign, 40c)
1782 No. Orange Drive, Hollywood 28, Calif.
American Cinematographer
January, 1955
45
Feature and television film productions for which members of the American Society of
Cinematographers were engaged as Directors of Photography during the past month.
AMERICAN SOCIETY
OF CINEMATOGRAPHERS
FOUNDED January 8, 1919, The Ameri¬
can Society of Cinematographers is com¬
posed of the leading directors of photog¬
raphy in the Hollywood motion picture
studios. Its membership also includes non¬
resident cinematographers and cinematog¬
raphers in foreign lands. Membership is
by invitation only.
•
BOARD OF GOVERNORS — 1954
Arthur Miller, President
Sol Halprin, First Vice-President
Joseph Ruttenberg, Second Vice-President
Alfred Gilks, Third Vice-President
Walter Strenge, Treasurer
Philip Tannura, Secretary
Robert de Grasse, Sergeant-At-Arms
John Arnold
Joseph Biroc
Arthur Edeson
George Folsey
Lee Garmes
Victor Milner
Hal Mohr
Leon Shamroy
ALTERNATE BOARD MEMBERS
Arthur Arling
Lucien Ballard
Dan Clark
Paul Eagler
Farciot Edouart
Ernest Laszlo
Robert Pittack
John Seitz
James Van Trees
Paul Vogel
Russell Harlan — “Blackboard Jungle,”
(Wide-Screen, black-and-white), with Glenn
Ford and Anne Francis. Richard Brooks, di¬
rector.
Arthur Arling — “Love Me or Leave Me,’
(Color, Cinema-Scope), with Doris Day and
Janies Cagney. Charles Vidor, director.
George Folsey — -“The Cobweb,” (Eastman-
Color, CinemaScope), with Richard Widmark
and Lauren Bacall. Vincente Minnelli, di¬
rector.
Robert Planck — "The Kings 1 hief , ( Last-
manColor, CinemaScope), with Ann Blythe
and Edmund Purdom. Hugo Fregonese, di¬
rector.
PARAMOUNT
Daniel Fapp — “You’re Never Too Young,”
(Technicolor, VistaVision ) , with Dean Mar¬
tin and Jerry Lewis. Norman Taurog, di¬
rector.
Lee Garmes — “The Desperate Hours,” (Vista-
Vision), with Humphrey Bogart and Martha
Scott. William Wyler, director.
James Wong Howe — “The Rose Tattoo,”
(VistaVision), with Burt Lancaster and Anna
Magnani. Daniel Mann, director.
Ray Rennahan — “The Court Jester,” (Dena
Prods. -Technicolor ; VistaVision), with Danny
Kaye and Glynis Johns. Norman Panama and
Melvin Frank, producers-directors.
Robert Burks — “The Vagabond King,
(Technicolor; VistaVision), with Kathryn
Grayson and Oreste Kirkop. Michael Curtiz,
director.
UNIVERSAL-INTERNATIONAL
Wilfrid Cline — “Third Girl from the Right,
retitled “Ain’t Misbehavin’”, (Technicolor),
with Rory Calhoun and Piper Laurie. Eddie
Buzzell, director.
Carl Guthrie— “Kiss of Fire,” (Technicolor;
wide-screen), with Jack Palance and Barbara
Rush. Joseph Newman, director.
Maury Gertsman — -“Tacey,” retitled “One
Desire,” (Technicolor), with Anne Baxter
and Rock Hudson. Jerry Hopper, director.
Charles Lang — “Female on the Beach,’ with
Joan Crawford and Jeff Chandler. Joseph
Pevney, director.
WARNER BROTHERS
Hal Rosson — “Strange Lady in lown, (V ar-
nerColor; CinemaScope), with Greer Garson
and Dana Andrews. Mervyn LeRoy, producer-
director.
John Seitz — “The McConnell Story, (War-
nerColor; CinemaScope), with Alan Ladd
and June Allyson. Gordon Douglas, director
INDEPENDENT
Robert Surtees — “Oklahoma!” (R&H Pic¬
tures — Eastman Color; Todd-AO; Technicolor,
CinemaScope), with Gordon MacRae, Shirley
Jones, Gene Nelson and others. Fred Zinne-
mann, director.
Frank Planer— “Not As A Stranger,” (Stan¬
ley Kramer Prods, for U.A.; Wide-screen),
with Olivia de Havilland, Robert Mitchum,
Frank Sinatra and others. Stanley Kramer,
producer-director.
Earnest Laszlo — “Kiss Me Deadly,’ (Park-
lane-Saville Prods, for U.A. release), with
Ralph Meeker, Cloris Leachman and others.
Robert Aldrich, producer-director.
Floyd Crosby — “Five Guns West,” (Palo
Alto Prods.; EastmanColor ) , with John Lund
and Dorothy Malone. Roger Corman, pro¬
ducer-director.
COLUMBIA
Charles Lawton — -“My Sister Eileen,” (Tech¬
nicolor, CinemaScope), with Janet Leigh. Jack
Lemmon. Richard Quine, director.
Henry Freulich — “Duel on the Mississippi,”
(Technicolor), with Patricia Medina and Lex
Barker. William Castle, director.
Lester White — “Five Against the House,”
with Guy Madison and Kim Novak. Phil Karl-
son, director.
Ira Morgan — “Devil Goddess,” with Johnny
Weissmuller and Angela Stevens. Spencer
Bennet, director.
METRO-GOLDWYN-MAYER
Paul C. Vocel and Joseph Ruttenberg —
“Interrupted Melody,” (Color, CinemaScope),
with Glenn Ford, Eleanor Parker. Curtis Bern¬
hardt, director.
Paul C. Vogel — “The Scarlet Coat,” ( Color,
CinemaScope), with Cornel Wilde, Michael
Wilding and Ann Francis. John Sturges, di¬
rector.
Loyal Griggs and Wallace Kelley — “I he
Ten Commandments,” (Technicolor; Vista¬
Vision), with Charlton Heston, Anne Baxter
and cast. Cecil B. DeMille, producer-director.
William Daniels — -“The Girl Rush,” (Tech¬
nicolor; VistaVision), with Rosalind Russell
and Fernando Lamas. Robert Pirosh, director.
20TH CENTURY-FOX
Harold Lipstein — -“A Man Called Peter,”
(Color; CinemaScope), with Richard Todd
and Jean Peters. Henry Koster, director.
Leon Shamroy — “Daddy Longlegs,” (Color;
CinemaScope), with Fred Astaire and Leslie
Caron. Jean Negulesco, director.
Leo Tover — “Soldier of Fortune,” (Color;
CinemaScope), with Clark Gable and Susan
Hayward. Edward Dmytryk, director.
Charles G. Clarke — “Violent Saturday,”
(Color; CinemaScope), with Victor Mature
and Richard Egan. Richard Fleischer, di¬
rector.
Harry Neumann — “Canada's Great Man¬
hunt,” ( Bischoff-Diamond Prod, for U.A. ).
with Edward G. Robinson, George Raft and
Audrey Totter. Lewis Allen, director.
Gilbert Warrenton — “No Place To Hide.”
(EastmanColor, Wide-screen; shooting in
Manila), with David Brian and Marsha Hunt.
Joseph Shaftel, producer-director.
Lucien Ballard — “Magnificent Matador,”
(Nat'l. Pics. — Primero Prod, for 20th-Fox re¬
lease; EastmanColor; CinemaScope. Shooting
in Mexico), with Maureen O’Hara and
Anthony Quinn. Budd Boetticher, director.
Leo Tover — “Soldier of Fortune,” (Color;
CinemaScope; shooting in Hong Kong), with
Clark Gable and Susan Hayward. Edward
Dmytryk, director.
TELEVISION
( For list of directors of photography who shot
television films last month, see special article
beginning on page 27 of this issue. — ED. )
46
American Cinematographer
January, 1955
TRI-X IN FEATURE FILM PRODUCTION
( Continued from Page 45)
that must be taken. As is true with
other negative emulsions, granularity in¬
creases with density of the negative. It
is therefore highly important to avoid
overexposure. The precaution is even
more important with this film because of
its extremely high speed.
Because of Tri-X’s great speed and
the limited sensitivity of some exposure
meters in use today, it should be noted
that satisfactory exposures often may be
obtained even when the set or location
illumination is so low that a reading
cannot be secured with a meter. Where
there is any doubt, of course, proper
exposure can be determined by shooting
and developing tests.
Frankly, we often arrived at exposures
intuitively. Just as a good cook, in pre¬
paring some unusual dish, adds a pinch
of salt, a dash of pepper or a modicum
of other condiment — following no estab¬
lished recipe — so we determined the
exposure for some scenes strictly on the
basis of long experience with motion
picture negatives. Of course, in making
such deductions, there had to be a start¬
ing point, and here we had the film
manufacturer’s recommendations. (See
Am. Cinematographer for July, 1954,
page 335. — ED.).
One of the pleasant discoveries we
made with this film is that it affords a
comfortable margin for exposure error
of approximately one full stop. How¬
ever, knowing well in advance the film’s
potential for overexposure, we reduced
this possibility to a minimum by work¬
ing closely with the art director with
regard to the color values in the sets.
In this way, the possibility of “burning
up” walls and other areas in a set while
achieving correct exposure elsewhere
was carefully avoided.
Today, it is the aim of the film manu¬
facturers to keep developing negative
emulsions with still greater speeds, at
the same time retaining the most desir¬
able screen quality. It would seem that
this has been successfully attained with
the development of Tri-X.
ADAPTING THE ZOOMAR LENS TO AURICON-PRO
( Continued from Page 29)
in place as previously determined. When
this prism is properly located, you will
be able to see clearly through the
Zoomar finder when looking through the
other square face of the prism. (Each
prism has two square faces, one
oblong.)
The second prism (prism #2 in Fig.
2) is now cemented in place. Here fol¬
low the pattern indicated in Fig. 3. This
is placed in exactly the reverse position
of prism #1, i.e., with two square faces
facing, and with the other square face
on prism #2 facing toward the back of
the camera.
When cementing this prism in place,
take care that none of the cement seeps
into the air space which must be allowed
between the two prisms. This space
should be no less than 1/16-inch.
After the prisms are properly located
and cemented to the lower prism
bracket, the next step is to set in place
the upper prism bracket. Apply cement
sparingly to top of each prism, making
sure that none flows down into the air
space between the two, and press the top
bracket into place. Next apply cement
along the edge of the bracket where it
joins the base plate, securing it to same.
As the thickness of prisms sometimes
varies, it is advisable to measure the
distance between the two mounted prism
brackets before cutting out the small
rectangular brace (shown in Fig. 2)
that is to be inserted between the two.
When proper size has been determined,
cut and shape the piece and then
cement it in place.
After all the various parts have been
cemented together to form the compact
prism unit, it may be mounted and dis¬
mounted from the camera simply by re¬
moving two screws. The gadget will
enable the camera operator now to line
up and compose his shots through the
Zoomar lens finder, as shown in Fig. A.
The attachment can be given a more
professional look if the Lucite parts are
painted black. Be sure not to apply
paint to the prisms.
So much for the prism viewing
device. Before the Zoomar-16 lens can
be properly used on the Auricon-Pro, a
second gadget must necessarily be built
and installed. This is the simple plastic
and sponge rubber support diagrammed
in Fig. 4. Because the Zoomar is at¬
tached directly to the Auricon-Pro
camera lens, it is advisable to provide
additional support for the Zoomar, to
prevent it from shifting position,
especially with relation to the prism
viewer. This, the support described
here, does quite satisfactorily.
There are two rods normally extend-
Now! A 400ft. Magazine
For Your BOLEX H-16
Complete
with
Synchronous
Motor
and Base
Includes
Installation
and
Case
Permits continuous run of 400 feet of 16mm film,
or — the 200 ft. daylight loading spool may be
used in the 400 ft. magazine. The 100 ft. day¬
light loading spool can be used in the camera
without removing the external magazine. In black
wrinkle finish to match camera. Fully guaranteed.
Write for information on our Rack-Over Sports-
finder and Camera Base.
See your Bolex dealer or
order direct. Immediate delivery.
TOLEDO CINE ENGINEERING
1309 Milburn Ave. Toledo 6, Ohio
Ready- Ceddy W
U. S. Registered Trademark
USEFULNESS GUARANTEED
FOR EVERY DAY USE
1001 Ready Sound-Film
Editing Data:
• Footage • Frame
Count • Screen Time
• 35mm and 16mm
equivalents.
Plastic computer for
everyone in movies
and TV, from script to
screen.
$2.00 Prep°id
(Delivered in U.S.A.)
ASK FOR REPRINT OF ARTICLE
IN AMERICAN CINEMATOGRAPHER.
Write or ask your dealer
READY-EDDY, Sandy Hook, Conn.
■ ■ ■
PROCESSING
Reversal specialists for over a decade.
Our long experience insures superior quality.
Electronically controlled machines keep tem¬
perature constant within .2 of one degree.
National "Brilliantone" Cine prints are the finest
available. Write for free catalogue.
CONTACT PRINTING
WORK PRINTS
EDGE NUMBERING
All work vaporated at no extra charge
B & W DUPLICATING
KODACHROME DUPLICATING
VACUUMATING
NATIONAL CINE LAB
Box 4425
Washington 17, D. C.
1 6MM SCENE TESTER
11 DENSITY
Will calibrate to any
printer and all print stock
$395.00
■ .i/p. Iin.inhi nirinoc ccmnrc
12037 Grand River Ave. • Detroit 4, Mich.
American Cinematocraphek
January, 1955
47
FILM ROLLERS
MANY TYPES AND
SIZES
Other Processing
Machine Parts
Also . . .
COMPLETE FILM
DEVELOPING MACHINES
New and Used
‘‘Send 25c for our new 24-page catalog
of processing machines and parts."
METAL MASTERS
(Formerly Wall Laboratories)
5599 University Ave. • San Diego, Calif.
Video Film Laboratories
131 West 23rd Street
New York 11, N.Y.
Complete laboratory service for Producers
using the Reversal Process
Also Negative and Positive developing.
WRITE FOR PRICE LIST
Established 1949
_ Southeastern -
Film Processing Company
1305 Geiger Ave., Columbia 2, S.C.
SPECIALIST IN
DuPont 930-931 B & W
REVERSAL 16mm FILM
• Industrial
• Television
• Training
24 hour service
FILM IN STOCK
To Sell
THE MOTION PICTURE INDUSTRY
YOU
NEED
AMERICAN
CINEMATOGRAPHER
AMERICAN CINEMATOGRAPHER reaches all
fields of 35mm and 16mm motion picture
production —
• Major Hollywood Studios
• Television Film Producers
• Industrial Film Makers
• Educational Film Producers
• Amateur Movie Makers
• Film Laboratories
• Foreign Film Producers (67 countries)
Why be satisfied with anything less?
Write For Advertising Rates
ing from the front of the Auricon-Pro
camera, which are used to support a
matte box and sunshade. These rods
are used to hold the support for the
Zoomar-16 lens. A piece of l/^-inch
Lucite, cut to the shape shown in Fig.
4. is drilled to fit over the rods. On the
top edge of the Lucite piece, mount a
short strip of 3/16-in. sponge rubber,
using plastic cement. This offers a firm
but not too rigid surface for the base of
the Zoomar lens to rest upon. The notch
in the Lucite piece, which may be seen
which you plan to record with your
camera.
After your arrival at the locale, and
before unpacking your camera, first
make a personal check of the “places,
people, and events” previously noted to
determine their pictorial worth, where
best to set up the camera for most de¬
sirable composition, and the time of day
the light is best for the type of shot you
propose to make. Carry along a sizeable
notebook, and don’t be stingy with your
notes; they’ll prove invaluable to you
when it comes time to shoot. While you
are making this survey, also determine
whether or not special permission is
necessary in order to photograph the
subject, the people who appear there, or
the activity. If so, make the necessary
arrangements in advance.
Talk to as many “natives” as possible,
explain your objective, and ask for sug¬
gestions. Invariably they can tell you of
additional things of interest that should
be included in your travel film. Be sure,
however, to personally check on the pic¬
torial possibilities of such suggestions
before setting out to photograph them.
I once journeyed two days on horse¬
back to photograph what a native had
declared to be “the most spectacular
scene in the world!” — high atop a moun¬
tain. But when I reached the summit and
surveyed the view I found it entirely
devoid of picture-making possibilities.
At this time of the year, one of the
best bets photographically is Tucson,
Arizona and the surrounding country¬
side. Tucson is easy to reach by air,
train or automobile. It has naturally
ideal shooting weather the year around,
and there is a wide variety of attrac¬
tions and activities to beckon the lens of
the cine photographer.
Assuming, then, that you are going to
make a travelogue of Tucson, suppose we
set down a tentative plan or “shooting
script.” Here is the program I once fol¬
lowed in making a travelogue of this
area, and it is the pattern I would fol¬
low were I to do it again — in black-and-
in Fig. 4 just under the word “sponge,’
should be made with a file after the
brace has been mounted on the camera
and the Zoomar lens installed in place.
Purpose of the notch is to permit full
operation of the Zoomar lens lever.
Needless to say, I found the construc¬
tion and installation of these two gad¬
gets quite worthwhile, inasmuch as they
made it possible to add to my camera
the Zoomar-16 lens, and enabled me to
use it with full professional results.
white or color, in CinemaScope or any
aspect ratio!
1 — Introduction • the setting, the land¬
scape, etc.
2 — Historical Aspects: Existing his¬
torical structures, ruins, etc.
3 — Characteristic Architecture : Con¬
temporary homes, business blocks,
schools, churches, etc.
4 — A griculture
5 — / ndustry
6 — Education
7 — The arts
8 — Curiosities
9 — Unique businesses or industry
10 — Sports
1 1 — Wild Life
12 — Unusual scenic vistas
13 — Ceremonials or folklore
Theatrical travelogues usually are lim¬
ited to around nine hundred feet of
35mm film — about ten minutes screen
time — making it necessary to keep the
subject matter down to about six to eight
topics or points of interest, each running
about a minute and a half. The cine
cameraist, however, has no such restric¬
tions to follow. Nevertheless, he should
avoid “cluttering” his picture with a lot
of relatively unimportant subject matter.
He shouldn’t try to put a “trip around
the world” all on a single reel of film.
The aim should be always to do a thor¬
oughly interesting coverage of a limited
area rather than a hit-and-miss spotty
coverage of a large area.
For the reader’s guidance, here is a
comprehensive outline of some of the
most interesting subjects to include in a
travelogue of Tucson, Arizona and the
surrounding area:
1— Panorama of the city, which is
situated in a valley and backdropped by
picturesque mountains and surrounded
by desert.
2 — A section of the old city wall with
commemorative plaque; old territorial
buildings; glimpse of the Historical So¬
ciety displays; San Xavier Mission, Ft.
Lowell. The Barber Shop Mueum.
(Continued on Page SO)
TRAVELOGUES OFFER FILMING CHALLENGE
(Continued from Page 36)
48
American Cinematographer
January, 1955
CLASSIFIED ADVERTISING
10c per word, minimum ad $1.00. Words set in capital letters except 1st word and advertiser’s name, 15c per word. Modified display
format 90c per line. No discount on classified advertising. Send copy with remittance to editorial office, 1782 No. Orange Drive, Hollywood
28, Calif. Deadline 15th of month preceding date of issue.
STUDIO & PRODN. EQUIP.
FOR SALE
WANTED
STUDIO AND PRODN. EQUIP.
INVENTORY REDUCTION SALE CLOSE-OUTS
NEW ENCLOSED FILM STORAGE CABINETS, ca¬
pacity twenty 400' reels, 2 drawers, gray
enamelled, $37.50 value . ..$ 14.95
In lots of 3, $12.95. Lots of 6 . 9.95
MOLDED TITLE LETTER SETS, 3-D effect, sanded
or pinbacks.
150 all caps, 3/4 " $8.50; l1/," . 10.50
246 upper and lower case 3/4" high, 13 x
17" panel background . 11.50
150 Gothic Italian caps l'/4" high, 16 x
22 panel background . 9.50
NEW EDITOLA OPTICAL SOUND & PICTURE
EDITORS, Big projected image . 347.45
BARDWELL -McALISTER MULTIPLE FLOODLITES,
3 Quadruple heads holding 12 bulbs on
rolling tripod stand, Orig. Gov't cost
$180.00 Surplus . 29.50
BM QUADLITE heads only, $4.95. Stands only 19.95
35MM REWIND SETS, geared and dummy
ends, good for 16mm . . 6.95
B & H AUTOMATIC FOOT SPLICERS, 35mm
$595.00; combination 16/35mm . 695.00
B & H 35MM CONTINUOUS SOUND PRINTER
Model D, complete, good "as is" condition 1995.00
CINE SPECIAL 1 6MM CAMERA with Par 4-
lens turret, 400' magazine and reflex finder;
spring motor; 3 lenses w/objectives and
case. $2250 value . . . _ . 1195.00
MOVIOLA 35MM UDS, separate sound and
picture. Rebuilt . 1250.00
DUPLEX PICTURE REDUCTION PRINTER 35/
16mm, ready to go . 2995.00
MAURER 16MM CAMERA w/400' mag,- sync-
motor; viewfinder. Very clean . 2295.00
EK AUTOMATIC FILM WAXER, $1200 value.
Rebuilt . 795.00
BRIDGAMATIC JR. 16MM FILM DEVELOPER,
Positive 600', Negative 300' per hour. Has
variable speed control. Reconditioned . 1075.00
EASTMAN AIRGRAPH 16/35MM FILM DE¬
VELOPING MACHINES. Fixes, washes, and
dries. Stainless steel tank and drum, drive
motor, heater, blower; $1800 value. Gov t.
surplus. New . 295.00
Good used condition . 225.00
REAL LOW PRICES ON 16MM REELS & CANS
200'
$ .72
$ .60
$ .54
400'
.78
.70
.64
800'
2.84
2./J
1 .90
1200'
3.24
3.04
2.30
1600'
3.60
3.30
3.00
2000'
6.50
6.10
5.50
TRADES TAKEN
Phone
PL 7-0440
Dept, fc
Cable; SOSOUND
S.O.S. CINEMA SUPPLY CORPORATION
602 W. 52nd Street, New York 19.
FOR SALE
BASS ... is headquarters for Arriflex 16; the new
Zoomar 16; Cine Specials, all models; Bell &
Howell 70-DL; Bolex H-16. Used Cine Special I, 1"
F: 1 . 9 lens and carrying case $395.00; Used H-16
Bolex, 1" F: 1 .5, 0.7" F-.2.5 W.A., 3" F;3.5 $347.50
Used Bell & Howell 70-DA, I" F; 1 .9, 4" F:4.5
$235.00. Used Bell & Howell 70-A, 1" F:3.5 and
case $52.50; Used 200' Chamber Cine Special
$295.00; Used 100' Chamber, Cine Special $117.50.
Best buys . . . Best trades always. BASS CAMERA
CO., Dept. AC, 179 W. Madison St., Chicago 2, III.
WALL S. S. 35MM. SOUND CAMERA
COMPLETE with Galvanometer, amplifier, portable
power supply, 40-50-75 and 100mm. lenses, erect
image viewfinder, complete front attachments, two
1000 ft. magazines, Balanced Tripod, necessary
carrying cases. Ovehauled. Guaranteed perfect.
Reasonable.
CAMERA EQUIPMENT COMPANY
1600 Broadway New York 19, N. Y.
WE BUY, SELL AND RENT PROFESSIONAL AND 16mm
EQUIPMENT. NEW AND USED WE ARE DISTRIB¬
UTORS FOR ALL LEADING MANUFACTURERS. RUBY
CAMERA EXCHANGE, 729 Seventh Ave., New York
City. Established since 1910
AUDIO AKELEY single system camera complete wnh
Akeley sound head. Gyro tripod, 3 lenses, view
finder, Maurer mixing amplifier. Complete with
cables, power supply and W. E. microphone.
CAMERA EQUIPMENT CO., 1600 Broadway, New
York 19, N.Y. Cable Cinequip.
NC MITCHELL camera (Serial 284), good condition,
now in daily use in Hollywood studio production,
for sale with following accessories: five coated
Baltar lenses — 25mm T/2.5, 30mm T/2.5, 35mm
T/2.5, 40mm T/2.5, and 75mm T/2.5; filter holder
and case; erect image viewfinder with built-in
mattes,- finder support bracket; reducing finder
adapter lens; combination matte box and sunshade;
wide-angle matte box; standard size friction tilt-
head; standard size tripod; 110-V, AC/DC variable
speed motor; camera carrying case; accessory case.
BOX 1203, AMERICAN CINEMATOGRAPHER.
CINEMATOGRAPHERS HANDBOOK
. $ 5.00
"FILM
TECHNIQUES" Spottiswoods
. 7.50
BELL &
HOWELL 70DL Fl .9 LIKE
NEW
. 219.50
B & H
ALIGNMENT GAUGE .
. 32.50
"KD"
ACTION VIEWER HEADS,
50
WATTS
NEW
. 14.95
TRI-X
1 6MM NEGATIVE FILM
IN
STOCK
MAIL ORDERS FILLED PROMPTLY
CAMERA CRAFT
18 E. 42nd Street New York 17, New York
35MM CINEPHON with all facilities of standard
studio camera in compact unit. Ideal for hard-to-get-
to places. Rock-steady picture. Mitchell-type focusing,
5 coated color calibrated lenses, 7 magazines. Built-in
automatic dissolve, reversible electric motor. Matte
box, cases. CARL-FREDRIK NELSON, 164-12 110th
Road, Jamaica 33, Long Island.
CINE Kodak Special Model II with Ektar fl .4 lens
and 15mm f2.7 lens. Perfect condition and guaran¬
teed— $600.00. COLEMAN PRODUCTIONS, 56 West
45th Street, New York 36, N. Y.
INTERLOCK Selsyn motors, new GE 230-volt 3-phase
$65.00. 115-volt single-phase $60.00 each. 12 new
Daven 30:30 ohm pots with dial and knob $8.00
each. STEVEN WELSH, 6240 N. Tripp Ave., Chicago
30, III.
FOR SALE or exchange for 16mm equipment — 16mm
MacVan Model A. A. sound and picture printer,
new machine with automatic life changer. Value
$1200.00. SAM'S ELECTRIC SHOP, Passaic, New
Jersey.
CINE SPECIAL with Par 4-lens turret; also Cine
Special II with full set Ektar lenses. Write BOX
385, Waukesha, Wisconsin.
SOUND-mirror tape recorder Model B-K-414. Like
new, $100.00. J. GROSS, 2424 S. 2nd St., Phila¬
delphia 48, Penna.
PRECISION Magnetic Heads for Engineers - Industry
Erase - Record - Playback
STANCIL-HOFFMAN CORPORATION
921 North Hiahland Avenue
Hollywood 38. California
WANTED
IMMEDIATE CASH PAYMENT FOR
CAMERAS AND EQUIPMENT
NEED EYEMOS (SINGLE LENS AND TURRET)
MITCHELLS, ARRIFLEX, DE BRIES, B8iH STANDARDS
AND HI-SPEEDS, WALLS, AKELEYS, CINE SPECIALS
AURICONS, MAURERS, FILMOS. ALSO BALTARS
COOKES AND OTHER LENSES. SOUND STAGE
LABORATORY AND EDITING EQUIPMENT OF ALL
TYPES REQUIRED. PLEASE SHIP INSURFD OR FOR-
WARD DESCRIPTIONS AIRMAIL. IMMEDIATE PAY¬
MENT.
GORDON ENTERPRISES • 5362 N. Cohuengo
NORTH HOLLYWOOD, CALIFORNIA
YOU MOST ALWAYS GET THE MOST
AT THE S.O.S. TRADING POST
BUY — SELL — SWAP — CONSIGN
Cameras, Dollies, Lenses, Lights,
Moviolas, Printers, Recorders,
Studio or Laboratory Equipment
Western Union-WUX New York
Phone PL. 7-0440
S. O. S. CINEMA SUPPLY CORPORATION
Dept, fc Cable: SOSOUND
602 W. 52nd Street New York 19, N. Y.
WANTED TO BUY FOR CASH
CAMERAS AND ACCESSORIES
MITCHELL, B & H, EYEMO, DEBRIE, AKELEY ALSO
LABORATORY AND CUTTING ROOM EQUIPMENT
CAMERA EQUIPMENT COMPANY
1600 BROADWAY, NEW YORK CITY 19
CABLE: CINEQUIP
WANTED
PRODUCTION EQUIPMENT, LABORATORY EQUIPMENT,
EDITING EQUIPMENT, 16mm. and 35mm. FROM SIN¬
GLE ITEMS TO COMPLETE STUDIOS. TRADES AC¬
CEPTED.
THE CAMERA MART, INC.
1845 Broadway Circle 6-0930 New York 23, N.Y.
F 4 B PAYS MORE
FOR USED 16/35MM EQUIPMENT
WRITE — WIRE — PHONE
FOR OUR CASH OFFER
FLORMAN 4 BABB MU. 2-2928
70 W. 45TH ST. NEW YORK 36, N.Y.
WANTED
Mitchell — Akeley — B 6 H — Wall — Eyemo
Cameras — Lenses — Equipment
NATIONAL CINE EQUIPMENT, INC.
209 West 48th St. New York, N.Y.
WANTED Akeley Gyro Tripod and High Hat. TOM
BURNEY, 89 Fairvew Ave., Bergenfield, N. J.
WANT moderate-priced automatic 16mm film processor,
for color preferred. Reply via Air Mail to BAILEY
BELL, JR., 618 East 14th St., Anchorage, Alaska.
CAMERA & SOUND MEN
CANADA! What do you need in Canada? Background
plates? TV film bridges? Establishing shots? For
any shooting in 35 or 16mm, colour or B&W,
write FELIX LAZARUS, York Film Productions, 344
Jarvis Street, Toronto, Ontario.
LABORATORY & SOUND
SOUND RECORDING at a reasonable cost. High
Fidelity 16 or 35. Quality guaranteed. Complete
studio and laboratory services. Color printing and
lacquer coating. ESCAR MOTION PICTURE SERVICE,
INC., 7315 Carnegie Avenue, Cleveland 3, Ohio.
Phone Endicott 1-2707.
LOWER cost 16mm editing and sound recording —
only 22 miles from Hollywood. EL RANCHO AUDIO,
26236 Fairview Avenue, Lomita, California. DAv-
enport 6-4925.
POSITIONS WANTED
EUROPEAN Cameraman-Director-Editor just arrived in
the U.S.A. Age 37, 15 years experience in film
production (features, advertising and now T.V.
films). The best of references. BOX 1202, American
Cinematographer.
SHOOTING In Europe? Cameraman available. Equipped
for 16 & 35mm. Knowledge of ropes in most
European countries. Capable of shorts production.
B&W — Color. A. COMA, 762 Lea Bridge Road,
London E17, England.
To Classified Advertisers
Copy deadline for classified advertising is the
12th of month preceding publication date. Mail
copy and remittance to cover cost to
AMERICAN CINEMATOGRAPHER
1782 No. Orange Dr. Hollywood 28, Calif.
American Cinematographer
January. 1955
49
TRAVELOGUES
(Continued from Page 48)
3 — Important buildings, businesses,
homes, and institutions with Spanish and
southwestern type architecture.
4 — Agricultural aspect: irrigation,
date harvesting, citrus groves, cotton
fields, winter vegetable growing. The
cattle industry with its roundups, brand¬
ing, rodeos.
5 — Open pit mining of copper ore, the
smelters, aircraft factories, cement plant.
6 — Comparison shots of beautiful St.
Phillips church in the hills, with its pic¬
ture window over altar; also other elab¬
orate and artistic churches; primitive
places of worship of the nearby Taqui
and Papago Indians.
7 — The University of Arizona, with
its emphasis on outdoor activities —
archaeology, botany, art, geology, agri¬
culture and animal husbandry; ranch-
type school; Indian school.
8 — The Davis-Monthan Airbase. Spe¬
cial permission must be obtained to
photograph here. Opportunity for ef¬
fective shots of high-flying planes in sky
followed by vapor trails.
9 — Festival of Southwestern Arts; art
shows, outdoor art classes in striking
settings; Navajo silversmiths at work;
Papago basket weavers; Mexican cos¬
tumes and dances.
10 — Study of cacti; fantastic shapes
and sizes and a wide variety make in¬
teresting compositional shots. In the
spring, the desert flowers.
1 1 — Unique business of making furni¬
ture from cactus skeletons; cactus candy
making.
12 — Fiesta de los Vaqueros — the an¬
nual rodeo — also the Kid's Rodeo, the
Intercollegiate Rodeo, and the Papago
Indian Rodeo.
13 — Desert Trailside Museum pro¬
vides opportunity to photograph animals
and birds. Similar opportunities abound
near homes at outskirts of city where
citizens feed and tame wildlife.
14 — Outstanding scenery; Mt. Lem¬
mon with its rocky highways; the won¬
derland of rocks; Arizona sunsets.
15 — Indian ceremonials: Yaquis at
Easter time; the Papagoes at Christmas.
La Posadas and La Pinyatas Mexican
ceremonial customs ; the Wishing Shrine ;
Puberty Rites of the Apache Indians.
There are, of course, many other sub¬
jects and places which one might easily
include in this outline. It will be a test
of the filmer’s ability to recognize the
unusual and the photogenic in locating
them.
The above is but a suggested outline
— a pattern to follow in your search for
interesting subject matter for your trav¬
elogue. So much will depend upon the
weather, the light, the time of day, and
the camera angles you select. Naturally,
you will have to decide on camera an¬
gles yourself, as it would be impractical
in this brief article to attempt to define
shooting positions and camera angles for
each of the above-mentioned subjects or
locales.
You will be interested to know, how¬
ever, that a great many professional
cinematographers have made Arizona,
and especially Tucson and its surround¬
ing points of interest, the subject of their
cameras and with considerable success.
So if you live in a region where inces¬
sant cloudiness, fog, smog and other
hinderances plague the photographer, it
will be a delight for you to awake each
day in Tucson and find the sky clear
and blue, the mountains and distant
vistas etched sharply and everything just
made to order for photography.
Here it is possible to shoot outdoors
quite successfully both in the early
morning and in late afternoon, when the
sun is quite low. You needn’t be afraid
to shoot in such extremes of light if you
have a good exposure meter and know
how to use it.
To sum it up, here you'll not only find
a real challenge to your movie making
ability, but many pleasant experiences
in meeting it.
MOVIES WITHOUT A CAMERA
(Continued from Page 35)
After the music has been recorded,
each note, phrase and sentence is
marked on the track with a grease
pencil. The notes are measured cumu¬
latively from zero as the track is run on
a frame counter, and measurements are
put against the notes on a dope sheet,
usually a simplified musical score. The
length of each note in frames is calcu¬
lated, and the grease-pencilled sound
track is run through a two-way winder
together with a roll of clear leader,
known as the “dummy.” The notes are
copied and identified with India ink on
the dummy.
The actual drawing is done with the
aid of an apparatus adapted by McLaren
himself from a camera gate. (Fig. 2.)
The claw mechanism is used to hold the
film in place and advance it one frame
at a time. An ingenious optical system
reflects the image of the frame just
drawn onto the new frame about to be
drawn.
The clear machine leader to be drawn
on is threaded into this apparatus with
the dummy below it. The drawing is
done with pen and ink from the first
frame to the last in natural sequence.
(Fig. 3.) Finally the drawn film goes
into the lab. for two prints — one for
checking sync and one as a master for
release printing. When color releases
are needed, various kinds of dupes are
made from the master and are assembled
in parallel to act as separation negatives
for the color process used.
Only McLaren could have thought of
using his cameraless technique for one
of the first 3-D films ever publicly
shown. Now is the Time was made in
1950 for the ultra-modern Telecinema
at the Festival of Britain, held in the
following year, and McLaren's match-
stick men stepped out from the screen
to chase each other among the en¬
thusiastic audience.
But the most intriguing of the stereo¬
scopic films shown was Around is
Around, another McLaren experiment,
this time made with a camera. But as I
said earlier, he never uses a camera like
anyone else. Examples of how he does
use it must wait until next month.
WHAT’S NEW
(Continued from Page 12)
Table-top Viewer
Craig, Inc., a division of Kalart
Company, Plainville, Conn., announces
its new Projecto-Editor, a dual pur¬
pose unit for table-top viewing of mo¬
tion pictures and a complete outfit for
film editing and repair. It can be set
up for either use in 60 seconds.
The Projecto-Editor consists of
viewer, with rotating prism shutter,
flat-field projection lens, ground and
polished condenser, reel spindle arms.
Craig Master splicer, film cement, and
carrying case. Price is $79.50 for
either the 8mm or 16mm model.
Lab Price List
Film Industries, Inc., 973 Bridge¬
port Ave., Milford, Conn., invite those
interested in 8mm and 16mm film
processing duplication, etc., to write
for the company’s new price list.
Title Letters
Descriptive literature and price
sheets of movable letters for making
amateur and professional film titles
are now available from H. W. Knight
& Son. Inc., Seneca Falls. N. Y.
50
American Cinematographer
January. 1955
ADVANCE ENGINEERING REPORT
PRINTERS
1955 . . . Bell & Howell’s Year of Printer Progress
These accessories — for J and D printers, old and new — will be available to you soon to
improve quality, reduce costs, speed print releases. Automatic fade attachment— Double¬
head sound and picture printing —Automatic traveling matte for color printing — New
sensitized-patch cueing system — Fast printer speeds — New edge number printing attach¬
ment— New 3-lamp additive light source. All of these will be genuine Bell & Howell ac¬
cessories . . . from the leader in the industry who brought you the finest printer in the
first place. For details write Professional Equipment Department, 7148 McCormick Road,
Chicago 45, Illinois. More than anyone, professionals know . . .
HONORARY ACADEMY AWARD 1954
TO BELL a HOWELL FOR 47 YEARS
OF PIONEERING CONTRIBUTIONS TO
THE MOTION PICTURE INDUSTRY.
experience leads to Bell & Howell
There’s only one
color-correct
process
. . . and onlybyrort can give
you all these 16mm production
facilities on one order:
sound effects
animation
recording
complete black-and-white
laboratory facilities
music library
sound stage
location photography
titling
editing
Want guaranteed satisfaction for your color films?
Demand Byron color-correct' prints, the film industry’s
highest standard of color duplication. Byron
service is dependable — prices are the lowest in the
industry — quality the best. Call today for our
illustrated brochure and price list.
8-hour service if required
Studios and Laboratory
1226 Wisconsin Avenue, N.W., Washington 7, D.C. DUpotlt 7-1800
byron
*Reg. U.S. Patent Office
PRACTICALLY EVERY 16MM FILM PRODUCER IN THE WESTERN HEMISPHERE IS A CLIENT OF BYRON
THE
MOTION PICTURE PHOTOGRAPHY
MAGAZINE
O F
FEBRli-
'■r,.
jit This fsstte • • •
THE ROLE OF THE CAMERA
• VISIBLE EDGE-NUMBERING OF FILM
• FILMING BATTLE SCENES FOR “BATTLE CRY”
THERE IS A
HOUSTON-FEARLESS
FILM PROCESSOR
FOR EVERY NEED!
Whatever your requirements in motion picture or TV
film processing equipment, Houston Fearless has the answer.
16mm, 35mm, 70mm . . . black and white or color . . .
negative, positive, reversal or positive-negative color film . . .
from 5 to 250 feet per minute . . . from the smallest,
most compact unit to the largest installation, Houston Fearless
builds the finest, most dependable, best engineered of all
processing equipment. Houston Fearless is a major supplier to
the Military and is known and respected throughout the world.
Only a few of the many Houston Fearless models are
shown here. For complete information on the type of equipment
best suited for your particular needs or for help on your
special requirements and problems, send the coupon below.
Houston Fearless engineers will recommend what is most
appropriate and, if desired, plan your entire film processing
lab for maximum efficiency and highest quality results.
HOUSTON
FEARLESS
'{ !■ t/n- (///«.«
'World’s Largest Manufacturer of Motion Picture
Film Processing and TV Studio Equipment”
Houston-Fearless Corporation
pi 809 W- J°lympic B,vd-' Angeles 64, Calif.
toured for?h7ti?oUVpurpPos0eCrSSin9 eqU''Pment
1 1 809 W. OLYMPIC BLVD. LOS ANGELES 64, CALIF.
BRadshaw 2-4331
620 FIFTH AVE., NEW YORK 20, N.Y. Circle 7-2976
NAME
FIRM_
ZON
ADDRESS
CITY _
STATE,
OCESSING EQUIPMENT
MOTION PICTURE and TV
BLACK and WHITE and
we custom design and manufacture to your
specifications or you may select from our
large stock of machines of standard manufacture
COLOR
Gordon Enterprises is world famous for producing and
supplying motion picture laboratory and TV film
processing equipment. Our film processing equipment
department is typical of our efficient, streamlined
operation . . . 16mm, 35mm, 70mm, 12" oscillograph
paper . . . black and white or color . . . negative, positive,
reversal or positive-negative color film . . . whatever
your requirements, we’ll supply from our extensive
stock of new and rebuilt equipment from such famous
names as Houston, Eastman and Fonda or custom
design and fabricate it for you. Gordon engineers will
help you plan your entire film processing laboratory.
For full information, send coupon below.
ANSCQ.RASTMAN COLOR PROCESSOR
l6/95mm COMBINATION PROCESSOR
HOUSTON 18mm REVERSAL PROCESSOR
NAME
FIRM— -
address
crrr-i
gordon enterprises
serving the world
5362 North Cahuengo Boulevard • STanley 7-5267
North Hollywood, California
Cable Addre** "GORDENT" • Teletype "ZFN"
PRIME
CONTRACTORS
TO THE
UNITED STATES
AIR FORCE, ARMY
AND NAVY
. Department
Processing tqu'PrI'en CoV.f0r«*«
Chief Eng'-ne^Jrises , North _
Gordon ^^enga B°u'eV°r process.ng
5362 T e send f »tt ^^Sl*** V* *
Please sen forrn the 1° ^ _ _ _
equipment to P
AMERICAN
' Ik.,/ . i &.<
WSSSm^
i -{\ ‘ I i , ‘ki
WS0m
to you
• •
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whose
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US
m
create
1 1 1 1 ■ 1 1 1
lq|u|a|l|i|t|y|
. . . our
sincere
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and
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CONSOLIDATED
FILM
INDUSTRIES
959 Seward St., Hollywood 38, Calif.
1740 Broadway, New York 19, N. Y.
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
PUBLICATION OF THE AMERICAN SOCIETY OF CINEMATOGRAPERS
i::i!l!!!l!lf!l!!!!l!!l!IIIIII!!lll!l!llll!ll!II!!l!ll!l!!lll!ll
Arthur E. Gavin, Editor
Makion Hutchins, Editorial Assistant Emery Huse, Technical Editor
Editorial Advisory Board: John Arnold, Arthur Edeson, Lee Garmes, Charles
Rosher, Leon Shamroy, Ered Gage, Glenn R. Kershner
Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Calif.
Telephone: HOIlywood 7-2135
I!IIIIIIIIIIII!IIIIIIII!I!!I!III!!II1III!!I!IIIII!^
VOL. 36 FEBRUARY • 1955 NO. 2
In This Issue
ARTICLES
“Six Bridces to Cross” — Suspense in Black-and- White—
By Frederick Foster 78
Visible Edge-numbering of Film Aid to Editing — By Charles L. Anderson - 80
The Role of the Camera . 82
Filming Battle Scenes for “Battle Cry" . 84
Motion Picture Production at University of Oklahoma —
* By Ned Hockman 86
Speed in Film Processing — By Leigh Allen . 88
So You Want to Shoot Indians? — By Roanna 11. Winsor . 90
Point of View Is Important — By Charles Loring . 92
FEATURES
Hollywood Bulletin Board . 58
What’s New in Equipment, Accessories, Service . 62
Industry News . 68
Booklets, Catalogs and Brochures . 74
Roster of American Society of Cinematographers . 96
Hollywood Studio Production . 106
ON THE COVER
SMOOTH DOLLY SHOT — With two CinemaScope cameras mounted on
stern of rowboat, M-G-M camera crew under direction of cinematographer
John Seitz, A.S.C. (not shown in photo) makes a dolly shot on water as
Robert Taylor swims a river in “Many Rivers to Cross," M-G-M’s rollicking
comedy-drama set in pioneer days and starring Taylor and Eleanor Parker.
1 '
i ;
Him
iiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiii
AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S.
C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. Entered as second class matter
Nov. 18, 1937, at the postoffice at Los Angeles, Calif., under act of March 3, 1879. SUB¬
SCRIPTIONS: United States and Canada, $3.00 per year; Foreign, including Pan-American
Union, $4.00 per year. Single copies, 25 cents; back numbers, 30 cents; foreign single
copies, 35 cents; back numbers 40 cents. Advertising rates on application. Copyright 1955
bv A. S. C. Agency, Inc.
iiiiiiiiiiiniiiiiifiiiiiiiw .
16mm PROFESSIONAL
The 16mm Professionol ha* the same proven Mitchell 35mm
feature* — to bring 35mm quality to 16mm screen*. Equipped
with 16mm Mitchell blimp, thi* camera i* a favorite of lead¬
ing commercial producer* for *ound photography.
The Mitchell 35mm Camera — standara equipment of major studio*
— is internationally known for dependability end performance. For
superb photography, Mitchell 35'* are available in BNC (blimp *
unnecessary); NC and Hi-Speed models to meet every requiremen
For over 25 years, Mitchell Cameras have set proies*
sional photographic standards for the Motion Picture
Industry, These flawlessly designed, ruggedly con*
structed cameras have proven themselves in smooth,
positive operation under the most exacting condi*
dons. Today, as yesterday, the arid's greatest films
depend upon Mitchell — pn sional equipment for
truly professional results.
35mm BNC MODEL
666 West Harvard Street • Glendale 4, Calif. • Cable Address: "MITCAMCO
85% of the professional motion pictures shown throughout the world are filmed with a Mitchell
ASC MEMBERS, at their January monthly meeting, were shown new
dual-purpose electronic and film camera developed by Al Simon
head of McCadden Productions, Hollywood. In front, at far left, is
Phil Tannura, ASC, first to test the new camera in production.
Seated beneath camera is Arthur Miller, ASC prexy, talking to
Joseph RuKenberg, ASC. Immediately behind camera is Al Simon,
and Bob Nichols who aided in its development. In photo above
right, the dual-purpose camera is shown from rear. Gathered
around and observing the electronic viewfinder image is (L. to R.)
Phil Tannura, Al Simon, and Doug Upton, of RCA.
CAMERAGLIMPSED at the speakers’ table were
Al Simon, Arthur Miller, ASC president, and
William J. German, head of W. J. German, Inc.
Simon explained function and purpose of his
camera briefly, promised a full press preview
next month, following completion of further
refinements.
Burnett Guffey, ASC, last year's Oscar
winner for best black-and-white cinema¬
tography (“From Here To Eternity ),
is in Japan directing the photography of
“The General Wolfhound” for Columbia
Pictures. Produced by Fred Kohlmar
and directed by Richard Murphy,
picture is being shot in black-and-white
and regular format.
★
Charles G. Clarke, ASC, who recently
completed shooting “Prince of Players,”
has been signed to a new long-term con¬
tract by 20th Century-Fox. Clarke, long
one of 20th’ s .top directors of photo¬
graphy, left the middle of January for
Hong Kong along with second unit
director Otto Lang to set up exteriors
and location shots for “A Many Splen-
dored Thing.”
★
Jack Webb, star of the “Dragnet” TV
series and an Associate Member of the
ASC, will be master of ceremonies for
the forthcoming announcement of nomi¬
nations of the Academy of Motion
Picture Arts and Sciences on February
12th. in the first time the event has been
put on television.
This is a special pre-Awards event,
which will be carried over the NBC tele¬
vision and radio networks from coast to
coast. The Twenty-seventh Annual
Academy Awards Presentation will fol¬
low six weeks later.
★
Joe MacDonald, ASC, along with a
20th Century-Fox camera crew, flew to
Tokyo latter part of January, where he
will direct the photography of 20th’s
“House of Bamboo,” starring Japanese
film star Shirley Yamaguchi and Robert
Stack.
Picture will be photographed in
CinemaScope and Eastman Color.
★
The need for technicians, created by
growth of television film production in
Hollywood has resulted in three Union
locals considering opening their rolls to
new members. As we go to press, some
40 candidates for admission will be
voted on at a general membership meet¬
ing of Studio Sound Local ; 60 can¬
didates are being considered by the Film
Editor’s Local, and the Studio Photo¬
graphers’ Local 659 is considering 40
applicants.
★
Maury Gertsman, ASC, one of Uni¬
versal-International’s oldest directors of
photography in point of service, has
been assigned the chore of filming U-I s
“The Spoilers,” one of the big photo¬
graphic plums of the year. The early-
day silent production of the same story
is still considered one of the all-time
greats, and it is rumored that the
modern version will have all the action
and drama which give inspiration to
good photography.
★
Daniel Fapp, ASC, is slated to direct the
photography of Paramount’s “Artists
(Continued on Page 68)
58
American Cinematographer
February, 1955
V
you’ve been waiting for
^Life-like COlor,,T the ultimate
in the reproduction of color film, is now available
to all producers of 16mm motion pictures.
Now you can have your exposed film duplicated
with perfect blending and balancing of tones.
Your release prints will have a sensitive living
quality ... surpassing anything you have ever seen
in clarity.
This is "Life-Like Color” the result of fifteen
years of exhaustive research by the country s
outstanding color engineers and technicians. It is now
available to you exclusively through the
laboratories of Telefilm Studios.
With "Life-Like Color” Telefilm Studios again
contributes to its primary objective ... to help
the 16mm producer make better motion pictures.
Telefilm’s modern facilities and equipment for
color printing ... high fidelity sound recording (your
choice of optical or electronic sound printing) ...
editing ... titling ... special effects ... and the
skill and the know-how of the finest technicians in
the industry are at your command.
for complete information , visit Telefilm Studios,
or write for a descriptive brochure.
HOLLYWOOD BLVD. • HOLLYWOOD, CALIF,
telephone HOllywood 9-7205
HERE'S gQ ‘-SO-
F & B SPLIT REELS
ARE BETTER FOR YOUR
FILM!
1. NO REWINDING needed when
projecting — measuring — edit¬
ing — synchronizing • — inspect¬
ing — cleaning.
2. STORE FILM ON CORES — but
perform all above functions in¬
stantaneously simply by oper¬
ating between split reels.
3. REMEMBER — with titewinds, you
can only rewind film off reels
onto cores — or vice versa and
that’s all. You still must rewind
and rewind.
4-79 For the time, trouble, labor,
space, scratches, abrasions,
dirt, aggravation and money
you will save by using F&B
SPLIT REELS.
80. Don’t junk F&B SPLIT REELS. We ll
gladly refund your money if
you're not 100% satisfied.
400 ft. split reel — 16mm. $4.50
800 ft. split reel — 16mm.... 6.00
1200 ft. split reel — 16mm 7.50
1600 ft. split reel — 16mm.... 9.00
(Professional & Educational Discounts)
SORRY — No titewinds will be
accepted in trade!
ROCK STEADY • VELVET SMOOTH
14 lb. TRIPOD
Auricon-Pro
Cinevoice . . .
Filmo . . . Bolex . .
magazine & motor . .
— for all cameras —
. . Maurer . . .
Cine Special . . .
. Eyemo . . . with
Arriflex 16 . . .
Arriflex 35
. All still cameras .
view cameras
A BRAND-NEW, MODERN TRIPOD . . . pre¬
cision engineered and designed, ruggedly con¬
structed for long and satisfactory service.
if SUPER-SMOOTH, fluid friction pan and tilt
head.
if TELESCOPING, two position, offset panhandle,
for adjustability to your length requirements,
left or right hand use; offset tor greatest com¬
fort and convenience.
■k KNURLED camera-tightening knob, externally
operated by angle gears for fumble-free, maxi¬
mum tightening.
* PRECISION ENGINEERED positive pan & tilt
locks for utmost in rigidity and safety.
★ SUPERB, SEASONED, solid hardwood legs, fin¬
ished for smooth, non-sticking telescoping ac¬
tion.
A" REMOVABLE friction head for easy mounting
on baby tripod or hi-hat.
★ SPRING-BALANCED HEAD, adjusted to your
camera, available at extra cost.
MADE IN U.S.A.
List Price . . . $135.00
HEIGHT: 41" to 75" . . . 360° pan,- 90° tilt.
FINEST WORKMANSHIP AND MATERIALS
5 YEAR UNCONDITIONAL GUARANTEE . . .
Fibre Carrying case . . . $20.00
Available Direct or at Your Dealer
F&B Gator Grip-Lites
PROFESSIONAL RESULTS
NOW POSSIBLE
WITH YOUR
CINEVOICE CAMERA
Shoot Complete
1 5 Minute
Programs
600 FOOT
MAGAZINE
CONVERSION
FOR 1 6mm
AURICON
CINEVOICE
CAMERA
Av Low Cost
W rite for Brochure
FACTS ABOUT F&B
F&B Cannot be Undersold F&B prices are
always the lowest in the industry. Maximum dis¬
counts cheerfully granted whenever possible.
Hangs from a nail — clamps securely to doors,
chairs, flats or stands. Barn door swivels
360° — accepts diffusers, filters, etc. Great with
Colort’-an converter.
Price Complete . $12.95
Barn Door Only . $ 8.75
ASK FOR FREE 1955 CATALOG
F&B USED EQUIPMENT
Always in stock . . . THOUSANDS OF ITEMS
. . . cameras, projectors, lenses, accessories,
rewinds, splicers, synchronizers, editing. ghr-
ing and laboratory equipment . . . ALL AT
REASONABLE PRICES. We are always glad to
quote lowest possible prices for specific items.
• F&B carries a Complete Stock . . . Everything in
new and used equipment for production, projection,
processing, recording, editing, distribution, etc. F&B
is agent for all major manufacturers.
• F&B offers on Ironclad Guarantee Nothing
sold as is. Every item sold carries a 100%
money back guarantee.
• F&B wants your Account . . . Your credit is good
at F&B. You will receive top service, courtesy and
reliability when you deal with F&B.
FLORMAN & BABB
70 West 45th Street, New York 19, N. Y.
Phone: Murray Hill 2-2928
Cable Address - FLORBABB, N.Y.
NOW, A DUAL-PURPOSE AURICON "SUPER 1200" CAMERA
with TeleVision -Transcription "TV-T" SHUTTER . . . .
...designed for Kinescope Recording. ..and shoots regular Live Action
16mm Sound-On-Film Talking-Pictures without any Camera modification
or change in the “TV-T” Shutter! The Auricon “Super 1200” Camera can
Kinescope Record a continuous 30 minute show using 1200 foot film
magazines. The “TV-T” Recording Shutter (Patent applied for March, 1949)
works equally well with negative-positive or reversal film. This Dual-Purpose
“TV-T” Shutter is also available for the “Auricon-Pro” and “Cine-Voice”
Cameras. Write today for information and prices.
Auricon Cameras with “TV-T” Shutter are sold...
( 1 Without sound for “TV-T” Kinescope Recording of picture only.
2 With Single-System Sound-On-Film for “TV-T” Kinescope Recording of
picture and sound-track on same film at same time.
3 For Variable-Area OR Variable-Density Sound-On-Film “TV-T” Recording.
Auricon 50 ft. Kinescope “TV-T” Demonstration Films are available on loan to
TV Station Managers and TV Film Producers. Please request on your letterhead.
PIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIH
j USE AURICON "TV-T" KINESCOPES FOR: j
DELAYED RE-BROADCASTING
-K SPONSOR PRESENTATIONS
-+C COMPETITION CHECKS
PILOT KINESCOPES
■+C SHOW-CASE FILMS
FILM LIBRARY
-frC "HOT KINES"
* AIR CHECKS
Auricon 16 mm Sound-On-Film Cameras are sold
with a 30-day money-back guarantee. You must
be satisfied!
BERNDT-BACH, INC.
6702 Romaine St., Hollywood 38, Calif.
= New 35 mm Model 2A ==
= With 180° Shutter =
. . . in equipment, accessories, service
I a truly GREM. i
CAMERA =
EE for TV, Newsreel
= and commercial
— For tough and trying assign- ~
— ments, ARRIFLEX 35 is in a ~~
class by itself. Reflex focusing
EE through photographing lens EEE
zzr while camera is operating —
== this is just one outstanding ~
— ARRIFLEX feature. ^
~ Equipped with bright, right- iE
~ side-up image finder, 6V: 2 x ~
EE magnification. Solves all par- EE:
= allax problems. 3 lens turret. =
Variable speed motor built ~
into handle operates from —
— lightweight battery. Tachom- =EE
5E eter registering from 0 to 50 EEE
=z frames per second. Compact, ^
EE lightweight for either tripod EE
== or hand-held filming. Takes —
EE 200' or 400' magazine. Write EE
EE for free folder. EE
— Blimp now available. ^
— 1 6 mm ARRIFLEX also available."
FRANK C. ZUCKCR
nm€RR Couipmem (o
1600 BROROujny \ n«uj yoRK cay >s— ■ '
Tightwind Adapter
The Camera Mart, Inc., 1845 Broad¬
way, New York 23, N. \ offers a novel
device which aids in rewinding 16mm or
35mm him on cores, without need for
reels or flanges. Known as the Camart
Tightwind Adapter, it fits over the top
of most standard rewinds, as shown
above, and is complete with core adap¬
ter.
The adapter permits winding short
lengths of him quickly, tightly and
evenly; need for separate tightwinders
for each roll of him is unnecessary.
List price is $24.00.
Optical-Magnetic Reader
Precision Laboratories, 1139 Ltica
Avenue, Brooklyn 3, New York, offer a
combination sound reader which may be
used either for optical or magnetic sound
tracks of 16mm. 35mm or 14-inch width.
Only 6-in. by 6-in. by 71/9-in. in size,
the reader features simple threading of
him, and a polished stabilizer drum
equipped with needle bearings and hav¬
ing a highly polished surface that cannot
damage him. Data on electronic com¬
ponents is as follows: 117-volt. 60 cycle
AC; power output 4 watts; heavy-duty
Alnico V speaker ; safety fused ; pre¬
focused lamp socket.
List price is $259.50.
Microphone Cradle
Cinekad Engineering Co., 500 West
52nd St., New York 19, N. Y., offers a
new type microphone cradle for mike
booms. Rigidly constructed of light¬
weight cast aluminum, it has three
shock-mounts which accommodate the
largest of microphones without danger
of transmission of vibration noise.
The Cinekad Mike Cradle may be
used with all makes and models of mike
booms, no tools required for installation.
For prices and descriptive literature,
write manufacturer direct.
New 16mm Sound Projectors
Eastman Kodak Company, Rochester,
N. Y., announces a new series of six
1 5- watt. Kodascope Pageant 16mm sound
projectors. Known as the Model AV-152
series, projectors will be available in
both single-case and two-case units and
with both standard and “Plus-40” shut¬
ters.
New models are faster to set up, place
in operation, and take down. This is
the result of such additions as attached
hinged reel arms which swing easily
(Continued, on Page 66)
62
American Cinematographer
February, 1955
• • • • •
The World’s Outstanding 16mm Camera
Because it has so much more to offer, the Arriflex
16 has become the most wanted 16mm camera in
the field. The demand has been greater than the
supply from the very beginning . . . and for the best
reasons in the world:
• The Arriflex 16 is the only 16mm camera with a
mirror- reflex shutter for continuous thru-the-lens
focusing and viewing — even during actual shooting.
There is no beam-splitting and no light loss; no
parallax and no need for extra finders.
• It is equipped with registration pin assuring abso¬
lute frame registration and rock-steady pictures,
• A built-in electric motor drive permits uninter¬
rupted filming— no need to stop and wind a spring.
• By employing a diverging turret, 3 lenses from
For complete information concerning Arriflex 16mm and
35mm cameras, and Arri film lab equipment, write to:
235 Fourth Ave., New York
extreme wide-angle to 300mm telephoto can be
simultaneously mounted— without physical or optical
interference.
There are a host of other features that equip the
Arriflex 16 for every possible type of professional
filming: Footage and Frame Counters — Tachometer
- Detachable Matte Box - 400 ft. Accessory Maga¬
zine, etc. Its extreme compactness and light weight
(only 7 V 2 lbs. with Matte Box) makes it also ideally
suited for hand-held shooting.
The quality, performance, and exclusive features of
the Arriflex 16 have created a great demand for
this camera. To assure earliest possible delivery, we
strongly urge you to place your order now. And
even though there is some delay, remember . . . the
Arriflex 1 6 is worth waiting for.
. • . • .
• •
3, N. Y. • 7303 Melrose Ave., Los Angeles 46, Calif.
RUNG PHOTO CORP.
Manufacturers and
Distributors of:
Bfoop Punches
Cans, Film Strip
Editing Tables
Film Bins
Film Racks
Flanges
Film Editing Gloves
Leader Stock, 16 & 35 mm
Measuring Machines
Plastic Cores, 16 & 35 mm
Reels, 1 6 & 35 mm
Reels, Non-Magnetic
Split Reels
Rewinds
Sound Readers
licers
Storage Cabinets
Vault Cans
Scotch Tape
Cloth Tape
Sound Recording Tapes
HOLLYWOOD
FILM COMPANY
. r ; ■■■■;■ . . .
precision film editing equipment
956 NO. SEWARD ST.
HOLLYWOOD 38, CALIF
HO-23284
tripod in
the world!
They’ve been standing on their heads,
trying to copy PROFESSIONAL JUNIOR
Tripod — but nobody can get around our
exclusive patented features.
Features which make PROFESSIONAL
JUNIOR tops in the motion picture,
TV and commercial film world. First
choice of professional cameramen.
First choice of our Armed Forces.
Is your work “dragging” for want
of an outstanding tripod? Get
PROFESSIONAL JUNIOR—
the price hasn't changed in
1 5 years. Get it today.
JUNIOR
-MOST
Professional Junior
GEARED HEAD
interchangeable with
Friction Head on
same
New Professional Junior Adjustable wood
BABY TRIPOD
— for friction and geared Heads.
Has substantial shoe and spur.
Measures from floor to flange 25" extended —
17” collapsed.
FRANK C. ZIICKER
(iouipmeiiT (o.
Dept. A-2-17 • 1600 Broadway • New York City#
ANIMATION AND SPECIAL
EFFECTS CAMERA STAND
Model No. 111-E
An intelligent approach to today’s
problems of TV commercials. It is
made to serve the multiple tasks of
the animation field to take angle
shots and zooms, matching zooms,
spinning, as well as countless other
photographic requirements. We man¬
ufacture a complete range of styles
and sizes.
OPTICAL PRINTER FOR
SPECIAL EFFECTS WORK
Will print 4 times reduction to
4 times enlargement in one
continuous zoom. Complete au¬
tomatic focus. Many combina¬
tions of movement and optical
effects available.
WRITE FOR COMPLETE LITERATURE
WHAT’S NEW
(Continued from Page 62)
into position; a new loop forming for
easier threading or for reforming a loop
lost during projection; and an improved
positive-action elevating mechanism with
push-button release.
Other features include redesigned film
j gate that insures accurately-adjusted,
even film pressure; silicone oil-damped,
pivoted roller to eliminate wear and give
added protection to film against takeup
stress; and motor-speed selector with
knurled knob and dial providing setting
and indication of speed. (This last
feature is included only on combination
sound-silent models.)
List price ranges from $455.00 to
530.00, depending on features desired.
Offset Viewfinder
PAR Products Corporation, 926 No.
Citrus Avenue, Hollywood 38, Calif., an¬
nounces a new line of offset positive
viewfinders for 16mm cameras, or for
use with lenses for which standard view¬
finders are not available. The PAR
finders permit use of large diameter
telephoto lenses on the PAR 4-lens tur¬
rets and may also be used, if desired,
on Bell & Howell cameras with positive
finder systems, also the Auricon Super-
1200 camera.
Complete specifications and prices
may be had by writing the manufacturer
and mentioning American Cinematog¬
rapher.
Heodquarters for Professional Photographic Equipment Since 1920
J. G. SALTZMAN INC. (
SALES DISTRIBUTORS for CAESAR MANUFACTURING, INC.
480 Lexington Avenue, New York 17, N. Y.
0=9
NOW! “Oscar" Winning SOUNDCRAFT Magna-Striper
Available in New 16-mm Model!
How the New 16-mm Magna-Striper
applies Soundcraft Magnetic Oxide in
three widths for three different pur¬
poses.
25-Mil. MAGNA-STRIPE for
double-perforated silent film
50-Mil. MAGNA-STRIPE for both
magnetic and photographic sound
100-Mil. MAGNA-STRIPE for
all-magnetic-sound track
1 Take-up reels
2 Feed reels
3 Splicing elevator
(40 seconds capacity)
4 Exhaust fan motor
(1300 cfm)
5 Feed bottles with
bottom screw vents
6 Drying air thermometer
7 Micrometer stripe adjustments
8 Binocular microscope
9 Sapphire shoes beneath
precision striping heads
10 Splicing block
11 Air heaters
12 295' leader
13 High temperature drying
chamber (4 minutes)
14 Removable partition
facilitates threading
15 Low temperature drying
chamber (2 minutes)
16 Sliding glass doors
Here at last is the answer to the de¬
mand for local striping service to pro¬
vide true hi-fidelity 16-mm magnetic
sound
... an entirely self-contained,
semi-portable, one-man operated
magnetic oxide striping machine,
identical in every vital feature to
the now famous 35-mm Sound¬
craft Magna-Striper which won
the coveted 1953 Academy of
Motion Picture Arts and Sciences
Award.
. . . the same fine Soundcraft en¬
gineering and construction that
every major Hollywood producer
of CinemaScope has used to
process stereophonic sound re¬
lease prints.
With ease and precision this new
equipment quickly applies two stripes
of Soundcraft’s perfected magnetic
oxide to any 1 6-mm film . . . black and
white or color, single or double per¬
foration. Jeweled bearing shoes (Item
9 above) assure precision striping
even with old, warped or distorted
film . . . even when spliced and spliced
and spliced! All wiring is explosion
proof.
Write today for complete franchise
information and full technical details
about how you, too, can build a highly
profitable business with this revolu¬
tionary new Model Z 16-mm Sound¬
craft Magna-Striper!
For Every Sound Reason
REEVES
SOUNDCRAFT
CORP* Dept. W2
10 East 52nd St., New York 22, N. Y.
ONE CAMERA
16mm or 35mm
in 10 SECONDS!
Camerette was
Reflex Motion Picture Camera
The perfect camera for the motion picture film
maker working in both 16mm or 35mm color
or black and white.
LOOK AT THESE ADVANTAGES —
• The same lenses, same motor drives, same
sound blimp and accessory equipment used
for both 16mm or 35mm — to convert simply
change the magazine.
• Precise rugged movement
• Reflex viewing
• 200 degree adjustable shutter
• Divergent three lens turret
• Automatic film gate 400' magazines 16 or
35mm — the 16mm magazine will accom¬
modate daylight spools as well as standard
core load.
• Light weight — only 14 pounds with 3
lenses, 400' magazine, and 6/8 volt motor.
Write for brochure
V_Jamerette
patents coutant-mathot
Manufactured by Ets. Cine. Eclair, Paris
(Continued from Page 58)
AMONG GUESTS at ASC’s January meeting were
{in uniform L. to R.) Major George M. Dwight,
Jr., USAF, Lt. W. R. Sutherland, USN, and
Comm. Frank A. Robinton, USN. Here the ASC s
“Wall of Fame” is being explained by Arthur
Edeson, ASC. During the evening, Comm.
Robinton screened 1 6mm color movies of para¬
chute jumping techniques, filmed under his
supervision.
and Models,” starring Martin and Lewis,
and scheduled to go before the cameras
in mid-February.
★
Jack Warren, ASC, will direct the pho¬
tography of “Anything Goes,’ one of
Paramount’s top musicals starring Bing
Crosby and Donald 0 Connor. Produc¬
tion will go before the VistaVision
cameras about March 15th.
★
Academy Awards for the best cinema¬
tography of 1954 came a step nearer
reality last month when the directors of
photography of the Hollywood motion
picture studios, in a preliminary ballot¬
ing, selected ten black-and-white and ten
color productions of 1954 as candidate
entries for nominations for the Acad¬
emy’s photographic achievement awards.
Nomination ballots were subsequently
mailed to all directors of photography.
Latter will vote to select, from among
the preliminary 20 productions, five
films in each class as the 1953 Awards
nominees. The balloting will close on
February 7th, and the results will be
announced in the radio-television broad¬
cast mentioned earlier in this column.
The twenty candidate films and the
names of the directors of photography
who filmed them follow:
Black-and-White
“Country Girl,” John Warren, ASC
(Para.) .
“Down Three Dark Streets,” Joseph
Biroc, ASC (United Artists).
“Executive Suite,” George Folsey,
ASC (M-G-M).
“Human Jungle,” Ellis Carter, ASC
(Allied Artists).
“Little Kidnappers,” Eric Cross (J. A.
Rank-U.A.).
“On the Waterfront,” Boris Kauff¬
man, ASC (Col.).
“Rogue Cop,” John Seitz, ASC
(M-G-M).
“Sabrina,” Charles Lang, ASC
(Para.)
“Suddenly,” Charles G. Clarke, ASC
(United Artists).
“Them,” Sidney Hickox, ASC (War¬
ner Bros.).
Color
“Brigadoon,” Joseph Ruttenberg, ASC
(M-G-M).
“Broken Lance,” Joseph MacDonald.
ASC (Fox).
“The Egyptian,” Leon Shamroy, ASC
(Fox) .
“The High and the Mighty,” Archie
Stout, ASC, and Wm. Clothier (Wayne-
F el-lows, W.B.).
“Rear Window,” Robert Burks, ASC
(Para.) .
“Seven Brides for Seven Brothers,”
George Folsey, ASC (M-G-M).
“The Silver Chalice,” Wm. V. Skall,
ASC (V. Saville for W. B.).
“A Star Is Born,” Sam Leavitt, ASC
(Transcona Eni. Prod, for W. B.).
“Three Coins In The Fountain," Mil-
ton Krasner, ASC (Fox).
“20,000 Leagues Under The Sea,”
Frank Planer, ASC; Spec. Effects:
Ralph Hammeras, ASC; Underwater
photog.: Til Gabbani (Walt Disney).
BERT EASEY, manager of Rank Prodn’s. camera
department at Pinewood, London, recently spent
two weeks at Paramount Studio in Hollywood
gaining information on operation of new Vista-
Vision cameras. Here Bob Burks, ASC, gives
Easey some pointers on the camera’s operation
on set of “The Vagabond King.”
68
American Cinematographer
February, 1955
IMOW
THAN
BETTER
EVER!
New Sound Blimp adds a new dimension
to the Camerette — the world’s most
versatile motion picture camera.
ONLY THE CAMERETTE HAS
1- Ability to use both 16mm and 35mm film in
one camera.
2- Reflex viewing through the taking lens at all
times for both film sizes.
AIMD NOW
A Sound Blimp with reflex viewing, making a fully-blimped
16mm or 35mm camera.
Synchronous motors — 110-volt single-phase or 220-volt
three-phase.
Write For Details
Benjamin Berg Agency
1410 NORTH VAN NESS AVENUE • HOLLYWOOD 28, CALIFORNIA
B-l-G QUALITY - SMALL PRICE
In a 1 imm Synchronous magnetic Film Recorder
COMPACT — engineered to endure! New
electronics — new ideas!
The Kinevox “16” is com¬
pactly assembled in a fine
Airplane Luggage style case,
with removable front. Panel
size is I2V4" by -11". Com¬
pact and easy to transport
to any location. Features the
same quality and fine work¬
manship that has made
Kinevox Synchronous Mag¬
netic Recorders the leader in
the portable recorder field!
DL
KIIMEVOX
“16”
DESIGNED AND ENGINEERED FOR
16MM FILM PRODUCTION
• 400-ft. 16mm film capacity — no reels required.
• Plays all track positions without head adjustment.
• Transport and amplifiers in one unit.
• Special precision instrument ball bearings and compo oil-retaining
bearings.
• Self-contained pre-amplifier operates directly from low-impedance
microphone.
• Latest type lo-noise tubes, DC heater supply, shock-mounted tube
sockets.
• Bodine synchonous salient-pole motor with filtered drive insures
trouble-free performance.
• Cannon XL connectors.
• Can be supplied for any voltage and frequency.
• Push-pull low-distortion bias supply.
• Power receptacle for camera.
• Matching film phonograph available.
$69500
Complete specifications, performance-data and curves available on request.
KINEVOX BUILDING
114-116 SO. HOLLYWOOD WAY
TELEPHONE: Victoria 9-3291 I
ROME • BOMBAY
NCORPORATED
NEW YORK • RIO DE
BURBANK
4 CALIFORNIA
CABLE: Kinevox, Burbank
JANEIRO « CANADA
BOMBAY
HERE UNDER H ROOF
... the One-Stop Source for all your
bardweu & McAlister
MULTIPLE SIRIPLITES
for Spot or Flood
Extends 4' to 15' high. For indoor and outdoors.
3 Striplites, each has 4 swivel sockets & switch,
holds twelve 150W R40 lamps — totaling 1800W
illumination. Folds to portable size. Tripod stand
has two folding 1 " tubular steel arms 28"
long, with attached striplite lamp heads. Heads
measure 2" long x 2 '/< x 3 high; weather¬
proof cable & plug. Rolling stand has three 4"
rubber tired casters. Can also be used with Color-
Tran converters. Excellent condition. Orig. U.S.
Govt. Cost $180; NOW only $29.50.
Same with One Striplite, holds four 1 50W lamps, $22.50
Multiple Striplite Lamp Heads Only . $ 4.95
Telescopic Tripod Stand Only with 3 brackets . $19.95
S.O.S. 16mm TITLER AND
SPECIAL EFFECTS KIT TGII
For Professional Results!
Produces the widest range of titles, trick films, cartoons,
animation, etc. Takes most types of movie cameras.
Horizontal and vertical operation. Table adjustable
north, east, south, west. Front and rear illumination.
Title board size 5 >/8 " x 7'/8", overall dimensions
30" x 12" x 9"; weight 20 lbs.
• Twin lamps with reflectors for front and back illumination.
• Title card frame with platens at top and bottom.
• Distance scale to obtain correct setting of camera lens.
• Climbing title device for producing any desired number
of title lines.
• Running title device with roller for making single line
titles of any length.
• Turntable for rotating titles, small objects and many
other purposes.
• Attachment for aligning optical axis on title board center.
• Ring clamp for holding supplementary lenses.
MODEL TG II, 16mm (illustrated) $159.50
MODEL TG III, 16mm. . . . $198.50
MODEL TG IV, 16/35mm . $295.00
Avoid the annoy¬
ance and many
man hours lost
classifying films
without titles.
The MOY edge
numbers every
foot of 16 and
35mm film and
simplifies the
task of checking
tiiles, footage.
IDENTIFY YOUR FILMS INSTANTLY
The MOY replaces cue marks, messy crayons, punches, embossing does
not mutilate valuable film. Work prints showing special effects, fades and
dissolves require edge numbering to keep count of frames cut or added.
Multiple magnetic tracks in CinemaScope stereophonic recordings make
edge numbering a MUST.
With NEW improved Non-Clog Inking System $2475
Present MOY owners can easily install the new and improved inking system!
AMONG RECENT PURCHASERS ARE:
Reeves Soundcraft, Springdale, Conn. Indonesian Supply Mission, N.Y.C.
Holland A Wegman, Buffalo, N.Y. Cinerama Productions, New York
American Optical (Todd AO), Hollywood Columbia Broadcasting System, N.Y.
PROCESS
YOUR
OWN
FILMS
and SAVE!
BRIDGAMATIC
does it Better ,
Faster and at
Far Less Cost.
There's a BRIDGAMATIC to meet every need and budget — negative,
positive, reversal, color; 16/35/70mm models. For TV stations, Film
Producers, Small Labs., Colleges, Microfilmers, Industrial Organ¬
izations, etc. Guarantees clear, sharp images. Protects negatives,
soundtracks; "dry-to-dry" in minutes. A true one-man lab. No
special skill required. BRIDGAMATIC Film Processors are known the
world over for their many advanced features and trouble-free oper¬
ation . . . completely self contained, compact, entirely automatic,
sturdy construction, low maintenance and operating costs.
AMONG RECENT PURCHASERS ARE:
U.S. Army, Frankford Arsenal, Philadelphia, Pa.
A.I. Dupont Inst. (The Nemours Foundation), Wilmington, Del.
U.S. Naval Microfilm Laboratory, Washington, D. C.
A PRODUCT OF FILMUNE CORP.
PRICES
START AT
$1095
The Department Store of the Motion Picture Industry’
S.O.S. CINEMA SUPPLY CORP.
602 WEST 52nd ST., NEW YORK 19, N.Y.
Phone: PLaza 7-0440 Cable: S0S0UND
Patent
Pending
EVERY FILM EDITOR NEEDS THE
CAMART TIGHTWIND ADAPTER
UNIVERSAL MODEL
HERE'S 8 REASONS WHY
Tightwind
adapter
for
left side
rewind.
o
®
c
o
JUNKS SPLIT REELS AND FLANGES!
Designed to fit all rewinds.
Chrome plated ball-bearing film guide roller.
For le.t and right side rewinds.
Core adapler fits 16mm and 35mm plastic cores.
Saves storing film on reels.
Eliminates cinching and film abrasions.
Does not interfere with normal use of rewind.
PRICE: $29.00 Each
New descriptive literature available
Patent
Pending
Tightwind
adapter
for
right side
rewind.
" CAMERA •MART
1845 BROADWAY at 60th ST . PHONE: Circle 6-0930
NEW YORK 23, N. Y. CABLE: CAMERAMART
$4.75
• CAMART
SYNCHRO-VIEW-LITE
A practical modification of
your Moviola 35mm synchro¬
nizer that will aid marking
and scene identification by
means of a solid insert with
a built-in light. An excellent
support when marking 1 7.5-
mm and 35mm magnetic
film. The solid insert is
grooved for adjustable 35-
mm to 17.5mm rollers. A
great time saver.
SYNCHRO-VIEW-LITE, com¬
plete with light, solid insert
grooved for 17.5mm $32.50
Solid insert only, grooved
for 17.5mm . $17.50
Pair adjustable 35mm to
17.5mm rollers . $13.00
$4.95
9 CAMART
ROOF-TOP CLAMPS
A safe method of insuring a
steady tripod support for your
motion picture or television
newsreels when atop a car or
station wagon platform. Heavy,
bronze construction, weather¬
proof. Set of three _ _ —
$28.00
• CAMART SLATE
and CLAPSTICK
PRICES SLASHED!
LARGE 10" x 12"
PROFESSIONAL
SOUND SLATE
HIGH QUALITY —
LOW COST
• CAMART TV MATTES for MOVIOLA
Now your film editor or
sponsor can view your TV
films on your 35mm Movi¬
ola with the exact area
matted as it would appear
on home television recei¬
vers. Aluminum, flat ano¬
dized black, precision cut.
9 CAMART
TRIANGLE
Our own heavy duty triangle
featuring a new shoe with
deep wells. Center keystone
casting locks the legs and
sturdy clamps assure a solid
tripod support.
$29.50
SPECIAL SERVICES
AUTHORIZED BAUSCH & LOMB
BALTAR LENS AGENCY
FACTORY APPROVED SERVICE & REPAIR
OF BELL & HOWELL EQUIPMENT.
BALTAR LENSES MOUNTED FOR ALL
16-35mm CAMERAS.
WORN and DAMAGED MOVIOLAS FULLY
RECONDITIONED IN OUR SHOP.
PROD. NO.
DIRECTOR
CAMERA
SOUND
SCENE I TAKE
DATE
of any
The direction-
portant part in obtaining the
; ' , • j
At Precision, expert guidance through each
producers, cameramen
rocedure where experience plays an im-
tfcis in the film processing laboratory.
%
? %
ase of the processing operation assures
All of which leads to another form off 6
York to Precision. That’s the
.
film processing problem.
In everything there is (pie best .. .i
I JSP'
[m
\ ws
West of 5th Avenue on J^6th Street in New
are and whatever your
SION
P ft
A division of J. A. Maurer, Inc.
Formerly McGeary-Sm it h
1905 Fairview Ave., N.E
Washington 2, D.C.
DISCUSSING outcome of the 16th Annual Red-
book Award with editor Wade Nichols, right,
are actress Grace Kelly and writer-director
George Seaton. Both figured prominently in the
\ “excellence of Paramount's 1954 product,” for
which Paramount studio received the award.
With TV Film production in Hollywood
outpacing feature film production, there
is a great deal of expansion going on
in that field.
Ziv TV, one of the leaders in pro¬
duction of video films, currently is
planning to film six additional shows
for television. This expansion program
will follow the company’s move to its
newly-acauired American National Stu¬
dios in Hollywood.
At the Cainorma Studios, where Ziv
is currently occupying three sound
stages, the company is currently shoot¬
ing “Meet Corliss Archer,” “I Led
Three Lives,” the “Eddie Cantor Com¬
edy Theatre,” “Mr. District Attorney.”
“Cisco Kid,” and “Science Fiction
Theatre.”
★
Industrial Film production boom pre¬
dicted for 1955, is further evident by
report that John Sutherland Productions
started the new year’s activities with a
backlog of more than SI million in
sales and productions, biggest in the
company’s history. At the close of Jan¬
uary, company had eleven business
documentary films in various stages of
| writing, shooting and editing.
★
Cinema Research Corp., largest inde¬
pendent optical printing firm in Holly¬
wood, will double its present floor space
at 7000 West Romaine Street during the
next two months and add to its equip¬
ment a new Acme matte printer and
title stand. Latter will enable the firm
I to render faster, more flexible and less
expensive matte and title service, ac¬
cording to Hal Scheib, president of the
company.
★
Eastman Kodak Company, last month,
formed a new international company to
combine the former functions of the
company’s export sales department here
and the European and Overseas Organi¬
zation.
Edward P. Curtis, Eastman Kodak’s
vice-president in charge of motion pic¬
ture film sales and foreign sales and
advertising, is general manager of the
new division. Richard B. DeMallie and
Marcel Ruot will assist him.
★
Ted Fogelman of Consolidated Film
Industries, Hollywood, has been ap¬
pointed Supervisor of the Lab’s 16mm
Division.
Head of CFI’s Kodaehrome depart¬
ment since its inception 10 years ago,
Fogelman started as a maintenance
technician in 1937 and has worked in
virtually every department of the lab
during the past 18 years.
★
Some 400 motion picture people — pro¬
ducers, buyers and users — are expected
to attend the Ninth Annual 16mm
Motion Picture Production Workshop
sponsored by the Calvin Co., Kansas
City, Mo. Event gets under way at
Calvin studios March 21st.
Purpose of the Workshop is “to con¬
sider basic the factual material through
the utilization of exhibits, demonstra¬
tions and discussions.” The entire pro¬
cess of planning, producing, and print¬
ing the industrial or educational motion
picture is chief topic of the Workshop.
No fees nor obligations are involved
for those who attend, and the sessions
are open to all in the industry.
ONE OF the general sessions at the 1954 Mo¬
tion Picture Production Workshop, sponsored by
The Calvin Co., Kansas City, Mo. The 1955
session opens there the week of March 21st.
74
American Cinematocrapher
February, 1955
PORTABLE
FILM RECORDERS
MAGNASYNC MANUFACTURING CO., LTD. • 5521 SATSUMA AVE., NORTH HOLLYWOOD, CALIF. • POplar 6-T692
NEW!
MAGNASYNC
DEALERS
CAMERA EQUIPMENT COMPANY
1600 Broadway, New York 19, N.Y.
JUdson 6-1420 — Cable: “CINEQUIP
MAGNETIC RECORDERS COMPANY
7120 Melrose Ave., Los Angeles 46, Calif.
WEbster 3-5545
ZENITH CINEMA SERVICE, INC.
3252 Foster Ave., Chicago 25, Illinois
IRving 8-2104
CASES CAN EE SEPARATED AS SHOWN FOR ‘‘CON SOLE "MODEL
SPECIFICATIONS:
FREQUENCY RESPONSE: 50-8000 cps ± 2 db. FLUTTER AND
WOW: 0.2% maximum overall. DISTORTION: Less than 2%
total harmonic. SIGNAL-TO-NOISE RATIO: Greater than 50
db. DIALOGUE EQUALIZATION: Switch for bass roll off
from 300 cps to ~ 10 db. at 100 cps. INPUTS: 1. High
gain (100 db) microphone channel. (Strapped for 50 ohms
standard. Can easily be changed to 250 ohms or 600
ohms). Cannon X-L connector. 2. Hi Impedence input.
Producer Net Price $895.00
F.O.B. NO. HOLLYWOOD, CALIF. EFFECTIVE JAN. 1, 1955
SUBJECT TO CHANGE WITHOUT NOTICE.
The X-400 is a complete synchronous
16mm Magnetic film recording and
reproducing channel, professional in
every detail. This is the answer for
the independent producer whose
budget has prevented him from taking
advantage of sprocketed double sys¬
tem production. The X-400 is de¬
signed around the basic "Synkinetic
motion principle that through the
years has given meaning to the
Magnasync pledge — Qua I ity- Economy -
Integrity!
Fig 2
SIMPLE INTERLOCK WITH
CAMERA OR PROJECTOR
The X-400 may be operated in either of the
positions illustrated in Figures 1 and 3. Posi¬
tive projector or camera interlock can be made
with the simple flexible-cable gearbox attach¬
ment shown above. Extended armature shaft
of the synchronous drive motor is accessible
through opening in case. This shaft also serves
as a convenient "framing knob."
Fig. 4
COMPACT-PORTABLE
CASE IS ASSEMBLED
AS SHOWN
“2-IN-1 ” UNITIZED CONSTRUCTION
SHOWING MECHANICAL UNIT
STACKED ON AMPLIFIER
The X-400 Recorder was designed originally for
the export market where extreme portability,
professional quality and "dollar exchange
economy is mandatory. The amazing perform¬
ance of this machine has prompted us to make
it available to American producers as well.
Considering the unbelievable price of this equip¬
ment, we are emphasizing the fact that the
specifications are unconditionally guaranteed!
AMERICA’S LEADING MANUFACTURER OF MAGNETIC FILM RECORDING AND REPRODUCING DEVICES
piiimsm
him »ico»on
RECORDERS
r « >-*i
WQU‘«Sai/...PIRST
KNOWN USE OF ELECTRIC
SET LIGHTING- BACKGROUND
PROJECTION AT THE PARIS OPERA
IN 1846. RIGHT FR 0/V\ A
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THE “NATIONAL” CARBON ARC ... NOTHING BRIGHTER UNDER THE SUN
The term "National" is a registered trade-mark of Union Carbide and Carbon Corporation
NATIONAL CARBON COMPANY
A Division of Union Carbide and Carbon Corporation, 30 East 42nd Street, New York 17, New York
Sales Offices: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco
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__ _ _ _ •/. '"■ t s «%■»• •;, v
DEDICATED TO DETTER PERFORDIRRCE
COLLAPSIBLE
3-WHEEL DOLLY
For motion picture and
TV cameras. Sturdy
cast aluminum. For
standard or baby tri¬
pods. Additional baby
tripod point holders
to control spread of
tripod legs. Adjust¬
able spring seat. Ex¬
tra wide rubber wheels.
Bronze tie down clamps
and other features.
f Hi .
HYDROLLY’
TV OR
CAMERA DOLLY
The advanced dolly for
instant moveability —
streamlined, light¬
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sturdy. Nothing to get
out of order. Many new
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operation. Hydraulic
lift type for fast up¬
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motion of TV and mo¬
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For studio or location. Folds
into one compact unit. Can be
used with professional or
semi-professional tripods.
SYNCHROMASTER
SYNCHRONIZER
Our Exclusive Distributor
J\tfuwna3e
Any combination of
16mm and/or 35mm
sprockets assembled
to specification. Cast
aluminum. Foot linear
type, adjustable frame
dial. Fast finger rol¬
ler release. Contact
rollers adjusted indi¬
vidually for positive
film contact. Sprocket
shaft slip lock, foot¬
age counter, etc.
Swivel seat. Adjustable leveling head.
Seat for assistant. In-line wheels for
track use. Steering wheel, rigid floor
locks. Hand pump or combination hand
and motor pump. Easily transported in a
station wagon. Fits through a 28" door.
■m
<&■!
'.’5a
.'•fa
-tv'f
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A BOSTON rooftop became an important location for a sequence
for Universal-International’s "Six Bridges To Cross,” photographed
by William Daniels, A.S.C. Daniels' favorite “Quadlites” appear
prominently here as they supply fill or booster light.
Six Bridges To Cross"
Suspense In Black-And-White
Hard, uncompromising black-and-white
photography by William Daniels, A.S.C. ,
gives this production a newsreel
feel of factuality.
By FREDERICK FOSTER
Ilk. I EWSREEL realism” is a term that most aptly describes
IN the imaginative photography of Universal-Interna¬
tional’s “Six Bridges To Cross.” It was filmed by William
Daniels, A.S.C., whose documentary-style photography of
“Naked City” in 1947 won him an Academy Award.
“Six Bridges To Cross” is based on the sensational Col¬
lier’s magazine story “They Stole $2,500,000 — And Got Away
With It,” by Joseph F. Dineen, veteran Boston newspaper
reporter. Because Dineen’s story has a Boston setting, producer
DIRECTOR of Photography, William Dan¬
iels, A.S.C.
78
American Cinematographer
February, 1955
Aaron Rosenberg and director Joseph Pevney believed that
the true spirit and flavor of the story could be carried over
to the screen by filming it in its actual locale.
Three weeks were spent by the company in Boston shooting
scenes in various Boston streets, in and around the Charles
Street Jail, the Concord Reformatory, the Massachusetts Gen¬
eral Hospital, two local courtrooms, the famed Boston Common
and on two of the six bridges leading out of downtown Bos¬
ton. It was from these six bridges — the only avenue of escape
for a criminal — that the picture derives its title.
Many things happened in Boston which W illiam Daniels
and his camera crew will long remember. They aren’t apt to
forget, for instance, how difficult it was to quiet Boston teen¬
agers and keep them out of camera range long enough to shoot
scenes with Tony Curtis, who plays the key role in the picture.
Even tough Boston police officers had experiences they never
thought could happen, such as the day the company was shoot¬
ing in the Charles Street Jail and citizens were begging to be
admitted to the jail, “just so they could see the movie stars
from Hollywood.” And there were some rabid amateur movie
makers among them, too, who wanted to study the professional
Daniels and his crew at work “on location.”
The documentary-newsreel style of photography which
Daniels employed on “Six Bridges” was developed earlier
when he photographed the memorable “Naked City” ; that
picture followed almost a complete about-face in standardized
studio techniques. For “Naked City,” Daniels developed his
now famous “Quad-lite”- — four reflector photofloods mounted
on a small, square panel — and this compact and portable
lighting unit was very much in evidence again when he shot
“Six Bridges” on location in Boston. The “Quads” were used
almost entirely for booster light on many location exteriors
instead of the usual arcs.
In fact, Daniels generally traveled “light” when it came
to equipment used in the many location interiors. The Quad-
lites, plus a number of broads and a few Seniors and Juniors,
in most instances, augmented the daylight which filtered
through windows or doorways of buildings where so much of
the “on-the-spot” photography took place. This being a black-
and-white picture, there was not the problem of balancing
artificial light with daylight that would have been encountered
in a color production.
In lighting the actual locale sets, Daniels' aim was to main¬
tain studio quality, plus a newsreel authenticity — while still
adhering to a rigid shooting schedule. Very often he and his
crew moved on to a set they had never seen before and had
to start lighting it immediately. The main problem on these
location sets was keeping the lighting from going “flat,” since
very often there were no parallels from which to hang back¬
lights and top-lights, so essential to achieving good separation.
Despite the fact there was often little time nor opportunity
for “studied” lighting, Daniels nevertheless produced the
desirable patterns almost instinctively, working toward the
best results possible within the physical limitations of the set.
Often these limitations barely permitted getting the camera
equipment and the crew and actors into the room.
In a picture such as this it is sometimes a temptation for
the director of photography to go overboard for realism,
employing exaggerated camera effects and weird lighting.
Daniels, on the other hand, exhibited marked restraint.
One of the tense sequences in “Six Bridges” which the
photography greatly enhances through skillful lighting and
camera handling is when a large moving van pulls up at night
(Continued on Page 100)
ONE OF the many actual locales used by the company for dramatic
scenes. Here the company prepares to shoot in the cell blocks of
the State Reformatory at Concord, Mass.
MOBS of curious onlookers gathered in Boston streets to watch
the company at work, often slowed filming operations and gave
police and the photographic crew a rough time.
DANIELS' camera catches Tony Curtis in a bit of action here laid
against the background of Boston’s Longfellow Bridge.
EDGE-NUMBERING a Cinerama film. Richard Babish adjusts Moy Visible Edge Numbering
Machine as it puts identifying numerals on the film every 20 inches. Note huge reels that
accommodate up to 8,000 feet of 35mm film.
Visible Edge-Numbering
Of Film Aid To Editing
By CHARLES
ONE of the editing problems in the
production of professional motion
pictures, both 35mm and 16mm, in¬
volves keeping an accurate check on the
great amount of exposed footage that
accumulates in each production. When¬
ever the use of a work print is involved,
for instance, there is always the problem
of being able to exactlv match the
negative or the color original to the
work print in order that everything will
come out all right. Also, there is the
need to match the picture or any section
of it with the corresponding sound track.
And where magnetic recordings are
used, a problem arises of how to match
the imageless magnetic film original
with the optical or magnetic sound work
track.
ANDERSON
The answer, of course, is edge num¬
bering of the various films that are em¬
ployed in putting a production together.
Edge numbering provides serial num¬
bers on the film at intervals of every 12
inches. Thus, if the work print, the
original negative and the sound track
films are all edge numbered, and in a
corresponding manner, the editor may
readily assemble the original film to
match the work print. He doesn’t have
to study the various scenes to see that
they are in continuity, or ever be in
doubt as to which of the several nearly-
identical takes should be used. How
film is edge numbered and the equip¬
ment used for the purpose will be
described later on in this article.
The most important use of edge num¬
Arrows point to edge numbers applied
to 16mm, 35mm, and 65mm (Todd-AO)
films. Numerals permit accurate match¬
ing of work print with negative and
sound tracks.
bering, perhaps, is in matching negative
to work print, and matching the sound
track to the picture film. Film manu¬
facturers now can supply 35mm negative
film already edge numbered. The num¬
bering of the work print then becomes
automatic because the edge numbering
on the negative film prints through on
the work print footage. Commercial
Kodachrome carries footage numbers on
the edge, but because of the reversal pro¬
cessing of the film, the numbers are
printed by exposure to light instead of
with ink, as with other films. The
result is the numbering is not as distinct
and often does not print through clearly,
especially onto color stock. For this
reason Commercial Kodachrome is in¬
variably edge numbered later by the ink
process.
Black-and-white reversal film (16mm)
does not carry manufacturer’s footage
numbering and therefore should be
edge-numbered after processing, except
80
American Cinematographer
February, 1955
where the original film is to be edited.
Most of the 16mm black-and-white
negative stocks are numbered by the
manufacturer, but it is best to check on
this before ordering prints.
In addition to edge numbering for
matching the negative with the work
print and the final print, a second series
of edge numbers are sometimes applied
to facilitate the editing of the sound
track. When many long dialogue takes
are to be broken up into shorter lengths
and recut several times in the editing of
a picture, similar code numbers on the
picture and sound films are a definite
help to the editor. These numbers can¬
not be applied by the laboratory im¬
mediately after developing and printing,
but must wait until the sound and
picture have been synchronized by the
editor.
After the dailies have been run and
checked for sync, the reels of film may
then be coded or edge-numbered before
they are broken down by the editor into
individual shots or takes. This is pretty
much standard practice because, after
edge numbering, if the slate record or
other sync marks are trimmed from a
shot, it can still be matched with the
corresponding sound track with the aid
of the edge numbers.
A production company away from the
studio on location may have one print
of a picture, while another print is at
the studio. Changes recommended at
either end can be identified exactly
through the edge numbers on the film,
and any changes made will be identical
in both films.
Where an industrial film producer
and the sponsor or his advertising
agency are located in different cities,
corresponding edge numbering on two
prints of the same film supplied both
will enable them to intelligently discuss
changes by wire, phone or other means
of communication without the need of
marking changes on the film and
shipping it back to the studio.
The equipment most generally used
today for the application of edge num¬
bering is the Moy Visible Edge Number¬
ing Machine, which is manufactured in
England and distributed in this country
by S.O.S. Cinema Supply Corporation,
New York City. Eour different models
are available; one provides numbering
between the perforations of 16mm film,
another is designed especially for num¬
bering 1714mm film, and there are two
models which apply the numbers on the
outside edge of 35mm film and between
the perforations or sprocket holes of
35mm film. All models may be used for
numbering positive, negative, or mag¬
netic recording film with a choice of
either black or yellow ink. Typical ap¬
plication of edge numbering is illus¬
trated in the photo of numbered film
clips on the opposite page.
The standard Moy machine, which is
pictured on this page, accommodates
reels of film up to 2.000-feet capacity.
Printing of the edge numbers is at the
rate of 50 feet a minute. Compared to
other film laboratory processes, opera¬
tion of the Moy Visible Edge Number¬
ing Machine is comparatively simple.
The only critical adjustment involved is
setting the digits on the numbering unit,
shown in closeup in the photo below,
right. Obviously it is important that
corresponding reels of film begin with
the same footage numbers and be
threaded to match frame-for-frame dur¬
ing printing. Once started, the Moy
machine numbers a reel of film in cor¬
rect sequence.
Heart of the Moy machine is the
numbering unit just referred to. This
receives an application of ink and in
turn makes contact with the film as it
passes through the machine. The num¬
bering unit then moves to a bristle brush
and a buffer for cleaning. The numbers
are advanced as the unit reaches the ink
supply again, and the cycle of printing
is repeated. All operations are con¬
tinuous and the film is never subjected
to intermittent movement of any kind.
The picture area is fully protected at
all times.
The printing ink is impervious to
chemicals used in negative-positive
black-and-white processing, thus per¬
mitting edge-numbering to be applied to
raw reversal stock before exposure and
development, if desired. The corrosive
bleaches in reversal color processing
obviate numbering color stock before
development.
Darkroom operation of the Moy
machine is not required, except when
unexposed raw stock is to be numbered.
One company who has found edge¬
numbering a distinct advantage in the
preparation of its films is Cinerama,
Inc. This company now employs two
Moy machines to edge-number the tre¬
mendous footage that goes into each
Cinerama production — the product of
three separate cameras, which obviously
must be kept in accurate sync through¬
out the editing process. Here, also, the
three films and the sound tracks are
numbered to guide the projectionists
and sound men in re-starting a show in
the event trouble develops after a show
is begun.
The Moy machines had to be especially
adapted for Cinerama. Provision was
made for reels to hold up to 8,000 feet
of 35mm film. Takeup of reels is by
( Continued, on Page 100)
MOY Visible Edge Numbering Machine, which is available for
16mm, 35mm and 17y2mm films. Film enters printer from left, re¬
ceives ink impression which dries as film travels in the vertical loops.
ARROW points to the edge numbering unit, which is simalar to a
Veeder counter. Digits are automatically cleaned after each im¬
pression to insure clear, sharp imprints of numerals.
American Cinematographer
February, 1955
81
LIGHTING is a fundamental factor in creating cinematic mood. It is
the interplay of light and shadow that determines the photo¬
graphic key of a scene. Here director John Ford (seated) directs
such a scene with Tyrone Power, Harry Carey, Jr., and Phil Carey
for Columbia Pictures’ “Long Grey Line,” in CinemaScope and
color. Director of photography is Charles “Buddy” Lawton, Jr.,
The Role Of
The Camera
Cinematography today has reached a high state of perfection,
and the motion picture camera, in the hands of an imaginative
director of photography, plays one of the most important roles
in shaping the success of a film production.
Whenever we think of the role of
the camera in motion picture pro¬
duction today, we think of it in terms
of a precision tool which, in the hands
of an imaginative craftsman, can en¬
hance the subjective or objective aspect
of the film story, contribute substantially
to its production value, and create the
illusion of immediacy and realism so im¬
portant to a successful photoplay.
The technique of motion picture
photography has come a long way since
the movies’ “early days,” when a camera
was employed merely to record on film
any scene or action on which its lens
was hastily focused.
By 1919, imaginative cinemato¬
graphers began to employ the motion
picture camera with more artistry; the
true science of cinematography was now
beginning to evolve. That year, when
the American Society of Cinematog¬
raphers was organized, one of the
prime objectives set down in its constitu¬
tion provided that “The Society is estab¬
lished to advance the art and science of
Cinematography.” The Society’s mem¬
bers were dedicated to the credo that
the role of the motion picture is some-
thi ng more than simply to record an
image on film; that the men behind
the cameras are something more than
photographers.
82
American Cinematographer
February, 1955
Today, the motion picture camera is
no longer merely a mechanical thing of
cogs and wheels and optical glass. It
is the “eye’ of the motion picture. It
is an artistic tool, like a painter's brush
or a sculptor’s chisel. In the hands of
an imaginative craftsman, it becomes an
instrument through which a dramatic
story can be placed on film — so that
later on, in darkened theatres all over
the world, vast audiences may see the
filmed story, react to it, and be enter¬
tained.
The producers who make the real him
successes today know that an audience
responds as strongly to creative camera
work as it does to clever direction or
powerful acting. For the camera has
"point of view ’ and the audience will
see the story only as the camera sees
it. For this reason, the camera’s ap¬
proach to a specific scene must be in key
with the concept of that scene as set
down in the screenplay, and the pattern
of action worked out by the director.
Usually the camera maintains the role
of a detached observer of the story. It
is not, in itself, a part of the action —
so it simply stands by and records what
goes on, assuming whatever angle will
best portray the action. When this is
the case, and the camera remains apart
from the action itself, the camera is said
to be used “objectively.” The major
part of the action in most photoplays is
photographed with this approach.
Occasionally, however, the camera
steps out of its role as casual observer
and becomes a participant in the story.
In so doing, it assumes the point of view
of one of the characters, and what ap¬
pears on the screen is what that particu¬
lar character sees in a certain filmic
situation. Thus the camera actually be¬
comes his “eye,” and when this is the
case we say the camera is used “sub¬
jectively. One sees a great many
examples of this technique in the “Drag¬
net’ television films, photographed by
Edward Colman, A.S.C.
This technique, in itself, is not new.,
Even back when movies were young a
character would scarcely be represented
on the screen as being drunk without
the audience being treated to a revolving
prism shot of what the inebriated
character was supposed to see. But, just
as motion picture technique in general
has outgrown obvious forms of trickery,
the subjective treatment as used in
Hollywood today has become a smooth,
subtle way of putting the audience in a
character’s “shoes.” It is dynamic with¬
out being clumsy.
The psychological effect of this device
on the audience is direct and potent. The
subjective camera approach, when well
executed, tends to bring the audience
into the picture. The modern photoplay
appeals principally to the emotions. For
this reason, it is desirable that the
audience “participate” subconsciously in
the action that is taking place on the
screen. When a person viewing a him
can lose himself in the story and react
vicariously to the emotions of the actors
— then he is quite apt to leave the
theatre with the glow of satisfaction of
having seen an entertaining him.
One of the best-remembered examples
of this technique occurred in the memor¬
able production “The Lodger,” produced
several years ago and photographed by
John Seitz, A.S.C. As the story unfolded,
a charwoman returned to her drab
lodging unaware that a killer awaited
her. By previously established motiva¬
tion the audience knew that the killer
lurked within the shadows of her room.
The camera followed the woman into her
room without once revealing the killer.
The woman then started to remove her
clothes, whirled about as she heard an
off-stage noise, and registered fright
when she realized she was not alone.
At this point, the camera subjectively
assumed the point of view of the killer.
The frantic woman, directing her atten¬
tion straight at the lens, backed away
slowly, while the camera — simulating
the lurching gait of the killer — began to
close in on her. Terrified, the woman
cowered against the wall as the camera
lumbered even closer, ending in a stark
closeup of her frenzied face. The killer
had not once been shown, and yet the
audience had the unique and jolting
experience of having directly witnessed
a murder.
This type of cinematic treatment sug¬
gests another facet of the great role the
camera plays in visually interpreting a
story for the screen — that of enhancing
the mood of the story. Mood is an in¬
tangible factor that exerts a powerful in¬
fluence upon an audience’s reaction to a
(Continued on Page 104 )
FILMING musical numbers makes additional demands on the cam¬
era and the cameraman; here there is still another factor to
consider — the music — in addition to lighting, camera movement,
etc. Photos below show, from two different viewpoints, the
cameras in action shooting a musical number for M-G-M’s “Seven
Brides for Seven Brothers,” photographed by George Folsey, A.S.C.
American Cinematographer
February, 1955
83
Filming Battle Scenes
For "Battle Cry”
With a battery of four CinemaScope cameras trained on the
action, Sid Hickox photographed some of the most exciting
battle footage ever seen.
VIVID AND REALISTIC battle scenes such as this were photographed by Sid Hickox, A.S.C.,
for Warner Brothers’ “Battle Cry,” with four CinemaScope cameras set up at strategic points.
direct the picture. It was decided to film
it in CinemaScope and WarnerColor to
capture all the magnitude and drama of
the story.
Sidney Hickox, A.S.C., one of Warner
Brother’s top cinematographers, whose
recent credits include “Blowing Wild
and “Them,” was chosen to direct the
photography of “Battle Cry.” For his
assistants Hickox selected cameramen
with war experience who were accus¬
tomed to filming under fire.
While the battle action constitutes
only a moderate portion of the whole
production, we have chosen this phase
of it for our subject because it involved
such dangerous and unusual filming pro¬
cedure. Needless to say, of course, the
photography of the rest of the picture is
a standout job.
“For the battle action sequences,”
Hickox said, “Director Walsh chose the
little Caribbean island of Vieques, Puer¬
to Rico, where the U. S. Marines train
under typical tropical conditions. Here
with the full cooperation of the Navy
and the Marine Corps, the company was
able to photograph the spectacular battle
and landing exercises conducted by the
Marines.”
Here was recreated for the picture the
historic invasions of Guadalcanal, Ta¬
rawa and Saipan. The filmed invasions
were as precisely timed and as care¬
fully thought out in every respect as an
actual landing. And with Hickox and
his camera crews training four Cinema¬
Scope cameras on the action, some of
( Continued on Page 94)
DIRECTOR Raoul Walsh (left) gives instructions
to actor Van Heflin for a battle scene for
“Battle Cry,” while Sid Hickox's camera crew
prepares to shoot scene. Camera is a Mitchell
BNC mounted with a CinemaScope lens.
Before the advent of CinemaScope, it was the usual prac¬
tice, whenever a picture called for war scenes, to go to
the stock-shot library for the footage, instead of staging and
shooting it. Such material has long been available in both
color and black and white in both 16mm and 35mm, and the
use of such shots skillfully integrated into a picture has saved
producers considerable time and money.
For CinemaScope productions, there has not been, until
recently, any battle action staged and photographed by any
studio. So when Warner Brothers produced “Battle Cry,” soon
to be released in color and CinemaScope, the studio had to
stage and shoot the realistic sequences of Marines in battle
action — sequences which are a climactic highlight of the pro¬
duction.
“Battle Cry” tells the story of a normal group of enlisted
men and officers of the Sixth Regiment of the Second Marine
Division, follows them through hoot camp training, describes
their romances and problems and then takes them into the
bitter battles of the South Pacific.
Raoul Walsh, an experienced master at extracting every bit
of excitement and action from a screenplay, was assigned to
84
American Cinematographer
February, 1955
EASTMAN
PROFESSIONAL
MOTION PICTURE
FILMS
W. J. GERMAN, Inc.
Fort Lee Chicago Hollywood
- . *
m
fi -
UNIVERSITY OF OKLAHOMA film production staff shoots a scene for “War Dance,” one of
the college’s many productions in 16mm color. Background is made of waterproof tar
paper painted blue. Camera and operator are in foreground.
Motion Picture Production At
The University Of Oklahoma
By NED HOCKMAN
The Production of motion pictures by universities and colleges today is big
business. So big, in fact, 35 of the collegiate production units have formed the
University Film Producers Association. Today, members of the Association are not
only large users of motion picture film but boast modern sound stages and surpris¬
ing inventories of professional cameras, and lighting, grip, props, and sound re¬
cording equipment. In these college film units motion picture producers of the
future receive diversified training in all branches of production.
In the following article, condensed from an issue of the Journal of the University
Film Producers Association , the author describes the growth and activities of a
typical collge film production unit, that of the University of Oklahoma. — Editor.
Motion picture production at the
University of Oklahoma was start¬
ed in 1947. The first picture was a one-
reeler in color and sound covering the
activities of the annual American Le¬
gion’s Oklahoma Boys’ State. This pic¬
ture was shot by using one camera and
two lights connected to a Colortran unit.
It was a very simple picture with the ma¬
jority of shots closeups due to the lack
of lighting equipment. Oklahoma Boys'
State was followed by another public
relations film covering the activities of
the University of Oklahoma's women's
physical education department. After
these two pictures the administration of
the University was convinced that mo¬
tion picture production was a necessary
operation at the University of Okla¬
homa. From that “We’ll show you” be¬
ginning, production has grown to the
present day status.
The Motion Picture Unit grew up
within the Extension Division’s Photo¬
graphic Service Department and still op¬
erates in that department. The Photo¬
graphic Service Department has two
units, the Still Photography Laboratory
and the Motion Picture Unit. With the
consolidation of the various operations
of the Extension Division, the Photo¬
graphic Service Department now handles
its motion picture contracts through the
Educational Materials Services. This
move was deemed necessary in order to
better handle the Photographic Service’s
budget and income profits from motion
picture productions. It is possible now
to have a revolving fund so that profits
made from picture productions can be
placed back into University department¬
al films and/or films to be made and
placed on the film market.
Film production at the University of
Oklahoma is handled in four categories:
(1) Production for non-profit na¬
tional and state agencies.
(2) Films for the various depart¬
ments of the University.
(3) Films that are not available on
the film market and are needed
for educational purposes. Such
films are produced on specula¬
tion and placed on the market
through the Educational Ma¬
terials Service Department.
(4) Films produced that are needed
OKLAHOMA UNIVERSITY’S film unit personnel: Left
to right are Jim Bragg, Layton Mabrey, Wayne
Rock, and Ned Hockman.
86
American Cinematographer
February, 1955
jt
SOUND RECORDING session at Oklahoma U’s motion picture unit. Equipment shown
includes the Magnecorder and the Magnafilm Recorder. The 16mm sync projector is behind
window at rear projecting the picture. Staff members are, left to right, Wayne Rock,
John Nugent and Ned Hockman. — All photos courtesy U.F.P.A.
for use on commercial and educational
television.
While many of the films deal with
regional topics, they are so produced
that they transcend mere state interests
and have had universal application as
well. Such films as Oklahoma Forestry,
Oklahoma Industry, Oklahoma Boys’
State, Oklahoma Heartland, U.S.A., The
Old Chiefs Dance, War Dance, Retire
to Life, Mental Hospital and Adventure
In Maturity are increasingly in demand
throughout the United States and Can¬
ada. Two of the films are being used
by EAC in its program abroad. The
above named films are not exceptional
films, but films that “show and tell,”
“with a little of this and a little of that,
done well enough to catch on.”
From the outset of production at
Oklahoma, the main objective was to
produce “simple motion pictures that
would do a job.” By “simple” it is
meant that there would be none of the
business of creating a “super-duper
Hollywood” production.
The basic principles of motion pic¬
ture making were known by person¬
nel already on the University faculty.
Not only did these people have an aca¬
demic background, but they had worked
professionally in theater, radio, and mo¬
tion picture production.
In the over-all production program
at Oklahoma, the administration insists
that films produced fulfill the require¬
ments for the successful completion of
the University’s broad goal of dissemi¬
nating knowledge and serving the people
of Oklahoma.
The personnel of the University’s film
unit consists of Supervisor, producer-
director, and cameraman-editor. The
supervisor is an experienced man in all
phases of production. He not only serves
as supervisor, but he also writes, directs,
photographs, edits, records sound, and
handles general production duties. The
man who serves as producer-director also
is an “all-around” production man. The
cameraman-editor is an experienced
cameraman and is in the process of
learning other phases of production.
At Oklahoma it is felt that one man
should be given the assignment to pro¬
duce the proposed picture. In other
words, a film to be produced is turned
over to one man and he is told, “It’s
your baby!” He may or may not write
the script, but he will personally direct
the picture, record the sound, and do
the editing and final production work.
When necessary, the entire personnel of
the university’s Photographic Service
Department may be called upon to help
out.
In most cases, the following proced¬
ures are used during production: A
meeting is arranged between the poten¬
tial sponsor of a film, the Director of
the Photographic Service Department,
and the Supervisor of the Motion Pic¬
ture Unit. This meeting precedes the
decision as to whether the film will ac¬
tually be made. During this first meet¬
ing the subject matter, costs, contract
provisions, and other phases of motion
picture production are discussed. Deci¬
sions are made as to the probable length
of the production and the time that will
be required to complete the film. Such
additional costs as special settings, spe¬
cial equipment, and acting talent are
also discussed if it appears probable
such items will be necessary. Finally,
when the decision is made to have the
University’s Motion Picture Unit pro¬
duce the film, a contract may be nego¬
tiated.
The writer then prepares the story
treatment, which is submitted to the
sponsor of the film for approval. After
approval is received, the shooting script
is prepared. Following this, a final con¬
ference is held at which time the shoot¬
ing script is discussed and approved.
After the shooting script has been ap¬
proved, the sponsor is requested to ap¬
point a liaison man (technical expert)
for the production. This appointment is
very important, and the man must have
the power to approve the sequential,
technical and informational development
and the policies involved.
Deviations from the shooting script
are made only to fit the actual or real-
life situations encountered. This is done
only on the approval of the liaison man.
When all photography has been com¬
pleted, the processed original film is sent
to the laboratory where an edge-num¬
bered work print is made, and this is
then edited according to the script.
When editing is completed, the work
print along with synchronized narration
and lip sound is presented to the spon¬
sor, giving him the first full view of the
production. It is now that the sponsor
must decide on any changes in editing
or commentary, and he is so informed.
Should any major changes be ordered,
the extra costs involved are discussed
and agreed upon.
When the edited work print is finally
approved, it is sent to a commercial
laboratory for finishing. The lab work
is carried out under the supervision of
the Director of the Photographic Service
Department and/or the Supervisor of
the Motion Picture Unit.
Facilities for the University’s motion
picture productions are housed in the
main administration building. The large
gymnasium in the building has been
converted to a sound stage, and the ad¬
joining rooms into editing, projection,
and equipment rooms. The sound stage
area is 130 feet by 60 feet by 40 feet
high. Actually the space is much larger
than required. It is often found ad¬
visable to go on location to shoot certain
scenes in sync-sound. At other times, the
studios of the University radio station
are used in order to permit recording
of sound of the best quality. The smaller
studios are always at our disposal for
recording of narration or for re-record¬
ing-
The Motion Picture Unit’s camera
equipment consists of: two Eastman Cine
Kodak Specials (for production work),
one Aurieon-Pro 200-ft. (used for single¬
system sound coverage when necessary
but used mainly as a self-blimped cam-
(Continued on Page 95)
American Cinematocrapher
Ferruary, 1955
87
6
WHEN THE HORSES are bunched, fouls — accidental or otherwise — with movie cameras placed strategically around the track. After
often occur, creating headaches for track officials. Now, thanks each race, the films are quick-processed and screened for the
to fast film processing methods, most race tracks monitor races judges in event a foul is claimed or suspected.
Speed In Film Processing
TYPICAL race track camera tower from which
patrol movies of horse races are filmed.
After horses have passed the tower, the
film is quickly removed from camera and
lowered to waiting automobile, which rushes
it to the clubhouse processing lab.
How rough-riding jockeys who wouldn’t be¬
have led to the development of fast process¬
ing that makes today’s TV newsreels possible.
By LEIGH ALLEN
One of the important develop¬
ments to come out of this age of
speed — for the motion picture and tele¬
vision industry, at least — is the high¬
speed film procssing machine. Oddly
enough, it was a totally unrelated busi¬
ness which brought this about. As horse
racing grew in popularity in this coun¬
try, there developed a need for a fool¬
proof means of monitoring the action of
jockeys and horses during a race in
order to detect fouls and adjudicate re¬
sultant claims.
As a result there was developed a
system for recording each race on mo¬
tion picture film. The him was then
promptly processed at the end of the
race and made ready for projection in
the event a foul was claimed. Later,
we shall see how this speedy him de¬
veloping process has been adopted by
television stations, enabling them to
present newsreels containing pictorial
accounts of late local happenings.
Fouls, claimed or actually committed
during a horse race, have always been
a headache for turf officials. It wasn’t
until a few years ago that this headache
was relieved by a system of motion pic¬
ture recording known as “Film Patrol.”
88
American Cinematographer
February, 1955
BRIGAMATIC Model R-TR automatic high-speed 16mm film processor.
It is used today at just about every major
race track.
The system consists of a number of
camera stations or towers erected at
strategic points around the track. In
each station is a 16mm camera manned
by an operator. Each camera is fitted
with appropriate lens — usually a tele¬
photo. The camera stations are so situ¬
ated that each race is photographed in
its entirety in closeup. In other words,
a given camera in the system will cover
the horses as they travel within the area
prescribed for coverage by that camera
plus part of the area prescribed for the
next camera, so that each camera records
overlapping action. In this way, every
second of the race is recorded on film.
At the end of any race, if a foul is
claimed (or suspected) the film is
screened for the track officials. Even
before the race is over, a fast camera
car is circling the track behind the
horses picking up the reels of film just
exposed by the camera in the stations.
At the clubhouse, the film is fed into
the fast, automatic processing machine.
The processed film, instead of being
spooled on a reel, is fed directly into
a projector which screens it for the
judges, all in a matter of minutes. In
one race track installation, TV equip¬
ment is employed so that films of ques¬
tionable races are shown to track offi¬
cials in the judges’ stand via closed-
circuit TV within a minute and 45
HILLS Model 16HT automatic high-speed
16mm film processor.
seconds after the first reel of film is fed
into the processing machine.
V hen film patrol of race tracks was
first introduced, various types of film
processing machines existing at the time
were used. However, they were not de¬
signed for the rapid processing which
the system required. For one thing
most of the machines utilized a 4’00-foot
length of leader strip, which preceded
the developed film through the processor.
This meant that it required between
six and ten minutes for the leader alone
to pass through the machine before the
developed film began to emerge.
About this time, film manufacturers
introduced a new type film having a
pre-hardened emulsion, which meant
that it could be processed in solutions
of higher temperatures than before and
thus reduce the overall processing time.
Augmenting this important step was the
introduction of high-energy developing
(Continued on Page 102)
American Cinematographer
February, 1955
89
ALL THE ELEMENTS for a good movie-making holiday abound in tions, and friendly Indians in colorful costumes whose cooperation
colorful Monument Valley — clear blue skies, fantastic rock forma- in your picture making can be obtained through guides.
!
, {
i
I
i
So You Want To Shoot
Indians!
Then head for Monument Valley, in Arizona, and for Harry
Goulding’s trading post. He’ll take you deep into the Indian’s
territory and arrange for them to pose for your movies.
By ROANNA H. WINSOR
Photos by Ray J. Manley for Western Ways, Tucson, Arizona
Sooner Or Later the hardiest of 8mm and 16mm movie makers gets a yen to go
out into the great Southwest and make movies of the Indians and of the incredible
scenic vistas of Monument Valley. This isn't as easy as most people think. First,
travel in that region is precarious, and second, you invariably need the assistance
of a good guide if your picture making is to be successful.
The author, who has taught school on the Navajo Reservation, and who now
lives in Tucson, is also a photographer of note. In the following article she gives
readers some good advice on how to proceed to make movies and stills in the Monu¬
ment Valley country. — Editor.
THE JEEP has proved the most reliable mode of
travel in the desert. Harry Goulding operates a
fleet of them to carry photographers to the Valley.
90
American Cinematographer
February, 1955
Amateur
CINEMATOGRAPHY
HARRY GOULDING poses Indian woman and girl for a group of photographers. Having
taken hundreds of photographers, both amateur and professional, into the Indian country,
Goulding knows the subject matter most desired and can advise on the proper lens stop to
use at any time of day.
Ever since the “Kodak As You Go”
slogan started a craze for amateur
photography, I have been a camera ad¬
dict. First it was snapshots, and later
16mm movies. Indians, as a photogenic
subject, have always been high on my
list of favorites. But as more and more
amateur photographers have gotten the
same idea, it has been increasingly
difficult to get good Indian pictures.
Poor judgment on the part of some
photographers and wanton invasion of
the Indian’s privacy eventually made it
necessary for the Indians, backed by the
U. S. Indian Service, to set up rules of
conduct for photographers. Today, no
photos or movies may be made of In¬
dians without the subjects’ permission,
and they must be paid if they grant the
favor.
The photographer, amateur or profes¬
sional, when he finds a willing Indian
along the road today, will probably be
met with a request for a dollar or more
per pose — and not much pose. The
photographer isn't likely to get good
pictures unless he spends precious time
making arrangements, or is able to find
a sympathetic negotiator who will act in
his interest.
Harry Goulding of Monument Valley
is such a man. Today, he has one of
the sweetest setups for photographers in
the country. He has gone all out to give
the photographer what he wants, and at
the same time satisfy the Indians. How
well he has accomplished his purpose is
evidenced by the excellent photographs
and color motion pictures, both amateur
and professional, which have been made
of Monument Valley. A growing
number of still and cine photographers
visit his trading post and lodge each
year. In his guest book are names of
many famous in the photographic world:
Ansel Adams, Jack Breed. Ray Manley.
Joseph Meunch.
Your name can be in that book. too.
Goulding first saw Monument Valley
in 1921, when he was rounding up sheep.
In 1923 it became possible for him to
settle there. He and his wife laid claim
to 640 acres at the base of Tsay Kizzy
Mesa and homesteaded it. They set up
tents and started trading with the
Indians. By 1928 the first tent camp
grew into a solid rock trading post, with
living quarters above. Tourists soon
started coming to the valley, as Goulding
knew they would, and the trading post
grew, with two stone cottages added for
the visitor’s accommodations. And so
the post remained until Hollywood dis¬
covered Monument Valley and came to
make movies there.
People who had never heard of the
valley now saw it in all its beauty in
one feature picture after another —
“Stagecoach,” “Kit Carson,” “Billy The
Kid,” “The Harvey Girls,” “My Darl¬
ing Clementine,” “Fort Apache,” and in
1948, She Wore A Yellow Ribbon.”
Harry Goulding’s dream was now
realized. He gave up herding sheep and
started wrangling dudes.
Monument Valley lies partly in Utah
(Continued on Page 10R)
TYPICAL composition obtainable on a Goulding-escorted camera tour of Monument Valley.
Note the “framing” here and the interesting pictorial elements in the background of this
scene of Indian rug weavers at work.
American Cinematographer
February, 1955
91
Amateur
CINEMATOGRAPHY
Point Of View Is Important
Your choice of camera angles will determine your
audience's point of view; so plan your camera setups
to complement the mood, theme and pace of your story.
By CHARLES LORING
The camera, depending upon its position in relation to the
setting and the action, can convey many different impres¬
sions of the same scene. It is for the cine photographer to
decide what impression he wishes to create and then follow
through accordingly.
Every cameraman — be he studio professional or home-
movie hobbyist — will have a different approach to filming a
given scene or sequence. Each will look at the situation differ¬
ently and tend to film it from his own viewpoint. What’s more,
the choice of camera angles which he employs will determine
the audience’s point-of-view in reacting to the sequence.
All of this works to the cameraman's advantage, for it al¬
lows him to get style and approach into his camera treatment.
While the cameraman sees the entire situation which he is
filming, the aduience will see only as much of it as he frames
in his viewfinder — and they will see it in terms of the per¬
spective which his camera angles create.
Since point-of-view is so important, then, it is to the cam¬
eraman’s definite advantage (even if he is only shooting scenes
of the kiddies in the backyard) to sit down and do a bit of
planning before he starts to shoot. He should decide just
what kind of mood he wants to establish, what kind of camera
angles it will require, and how the camera can be used to best
complement the action. This bit of planning will pay its way
many times over, for it does away with the costly hit-and-miss
shooting which we see so often. It will give the screen pre¬
sentation a more professional finish, and — most important of
all — it will tend to draw a more appreciative reaction from the
audience.
Let’s take a look at some of the basic principles of camera
viewpoint, and the ways in which they influence an audience’s
impression of a particular scene.
The High Angle Shot: When you look down at anything,
you automatically become (in a psychological sense) superior
to whatever you are viewing. If you look down from a height
at a scene even as vast as the Grand Canyon, you will still ex¬
perience a sense of power that comes from having the whole
thing spread out before you. Subconsciously you feel that it
belongs to you and that you are able to command it from your
exalted position. This probably explains why political dictators
invariably build tbeir retreats on mountain-tops, and feel most
powerful when haranguing the masses from a balcony.
In terms of the camera, a high angle creates a very similar
impression. It places the audience in an exalted position in
reference to the players in the scene. Depending upon how
the trend of the action develops, it can cause the audience
to look at the players either with contempt or compassion — but
in any case, the characters in that scene will appear humble
to the audience.
Putting it into concrete terms, let’s suppose that there is a
sequence in which a man is being pursued by bloodhounds.
If the action were filmed from the conventional eye-level
angle we might not feel especially sorry for the man, because
( Continued on Page 102 )
ROBERT TAYLOR, M-G-M star, long ago learned the im¬
portance of choosing camera viewpoint with care when
shooting personal movies. Taylor always takes his Bell &
Howell Filmo along with him on location and makes 16mm
color movies of interesting happenings between his appear¬
ances before the studio camera. — Photo courtesy of M-G-M.
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FILMING BATTLE SCENES FOR “BATTLE CRY”
(Continued from Page 84)
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the most exciting battle footage ever
seen on the screen is the result.
There were two phases of battle action
covered by the cameras. The first was a
series of shots of a night bombardment,
which appear in the picture in a mon¬
tage; the second, and biggest phase, was
the daytime invasions in which real U. S.
Marines took part under the most real¬
istic battle conditions. CinemaScope
cameras for the first time captured the
spectacular effects of night bombard¬
ment when Sid Hickox photographed in
color the night training maneuver of the
Second Battalion of the Second Marine
Division on Vieques Island. Special
permission was obtained to film the ex¬
ercise in which the combined firing
power of the entire battalion plus the
guns of a destroyer at sea were used
simultaneously. By placing four Cinema-
Scope cameras at strategic points, two
of them fifty yards inside the firing
range, Hickox was able to obtain some
of the most exciting night battle footage
ever filmed in color.
To coordinate the filming between the
various cameras, Hickox used Walkie-
Talkie communication units. In shooting
the daytime action. Director Walsh left
it to Sid Hickox to plan the battle shots,
to choose the camera setups, and to de¬
cide on the angles to cover. To do this,
Hickox arrived at the scene of the day’s
shooting an hour ahead of the Director,
went over the scheduled scenes with the
Assistant Director, then set up his cam¬
eras.
The cameras were used almost en¬
tirely mounted on tripods on parallels.
Because of the distance and the terrain
of the island, no camera cars or mobile
camera carriers of any kind were
brought along by the company. “WTe
built our parallels right on the spot from
green lumber shipped in from Puerto
Rico,” said Hickox.
Another thing that was left behind at
the studio was booster lights. Hickox
used the old reliable foil-covered sun¬
light reflectors to boost light into shadow
areas in the exterior scenes, and with
very notable results. There is none of the
obvious booster light glare in any of
the scenes; the faces of the players seem
to be lit most naturally at all times.
Hickox shot 150,000 feet of Eastman
Color film on the battle scenes alone.
“The weather at Vieques,” said Hickox,
“is most ideal for motion picture photog-
Venezuela Vista
LINING UP his Mitchell camera for a shot of road-building activities in Venezuela is
Thomas Tutwiler, A.S.C., who recently directed the photography there of feature-length
film in Eastman Color for Coronet Marcos Perez Jimenez, Presidente of Venezuela. The
colorful film represents a “progress report” on the accomplishments of the Jimenez regime
during the past two years. The Presidente’s oft-expressed belief that “The best is none
too good for Venezuela” is evidenced by his choice of Eastman Color film and a top A.S.C.
camerama l to photograph the picture.
94
American Cinematographer
February, 1955
raphy in color. The skies are so clear at
all times and the clouds so white, we
often used an ND filter on the lens to
purposely subdue the striking beauty of
the skies so it would not detract from
the action and the story itself.”
Hickox used mostly 2-in., 3-in., and
4-in. lenses on this location assignment
— “The Twos for long shots and the
fours for eloseups,” he said. To safe¬
guard against any camera trouble, the
company sent along an expert Mitchell
camera mechanic. He set up a machine
shop on the island and kept the cam¬
eras in top operational shape by giving
each of them rigid daily inspection. As
a result, there was no breakdown of
camera equipment at any time.
Although Sid Hickox and his crew
members were right in the thick of the
explosive action at all times, there was
not a single injury. “Not even a singed
eyebrow,’ Hickox said, “thanks to the
very efficient way the explosions, shell
bursts, fire, etc., were engineered and
handled by the studio’s regular special
effects men under the leadership of
Ralph Webb.”
Critics, in appraising the photography
of “Battle Cry” agree that the lack of
CinemaScope stock-shots was a good
thing for the picture. Said one, “The
battle scenes which were especially
staged and photographed for the pro¬
duction are most realistic and more
dramatic than is usually found in stock-
shot footage, and seem to exactly fit the
picture.”
FILM PRODUCTION AT
THE UNIV. OF OKLA.
(Continued, from Page 87)
era for shooting double-system sound),
one Bell & Howell 400-ft. (used for
sports), one Bell & Howell 100-ft. (used
for fill camera and sports), one Bolex
100-ft. and one Bell & Howell magazine
camera. The Cine Specials are the work
horses on most all productions.
When sync-sound is necessary, the
Auricon-Pro with sync motor has been
found to be an excellent camera to use,
because it is self-blimped and compact,
thus making operation easy. Also for
sync-sound shooting we use the Camera
Equipment Co. blimp and sync-motor
with the Cine Special. The blimp is well
made. It has a follow focus attachment,
prefocus magnifier, built-in lights for
viewing lens markings and footage
counter, and an excellent viewfinder.
The Camera Equipment Co. Blimp-Cine
Special arrangement is also a compact,
easy-to-operate unit. Both units have
their place in production for sync-sound,
but the self-blimped Auricon-Pro cam¬
era with sync-motor can perhaps be
used with greater ease.
(Continued on Page 97)
Negative Developing
First Print Department
Ultra Violet and
Flash Patch Printing
16 mm and 35mm
Release Printing
Title Department
45 Cutting and
Editing Rooms
lor color it’s
MOVIELAB FILM LABORATORIES, INC.
619 West 54th Street, New York 19, N. Y JUdson 6-0360
American Cinematographer
February, 1955
95
96
AMERICAN
ACTIVE MEMBERS
L. B. Abbott
David Abel
Lloyd Ahern
Lucien Andriot
Arthur Ailing
John Arnold
Lucien Ballard
Charles E. Bell
Joseph Biroc
0. H. Borradaile
Charles P. Boyle
John W. Boyle
Wm. W. Bradford
Elwood Bredell
Norbert Brodine
Joseph Brim
Robert Burks
Jack Cardiff
Ellis W. Carter
Walter Castle
S. C. Chuck
Dan Clark
Charles G. Clarke
George Clemens
Wilfrid Cline
Russell Codings
Edward Colman
Olle Comstedt
J. Burgi Contner
Stanley Cortez
Ray Cory
Edward Cronjager
Floyd Crosby
Wm. H. Daniels
Mark Davis
Robert deGrasse
George E. Diskant
Linwood Dunn
Edwin B. DuPar
Max B. DuPont
Elmer Dyer
Paul E. Eagler
Arthur Edeson
A. Farciot Edouart
Russell Ervin
Max Fabian
Higino J. Fallorina
Daniel L. Fapp
Frank Finger
Frank R. Follette
George J. Folsey, Jr.
Ellsworth Fredericks
Henry Freulich
Karl Freund
John P. Fulton
Lee Garmes
Frederick Gately
Maury Gertsman
Alfred L. Gilks
Irving Glassberg
Donald C. Glouner
Roster
SOCIETY OF CINEMATOGRAPHERS
JANUARY 1, 1955
James Gordon
W. Howard Greene
Jack Greenhalgh
Loyal Griggs
Burnett Guffey
Carl Guthrie
Ernest Haller
Sol Halprin
Edwin Hammeras
Ralph Hammeras
Russell Harlan
Charles Harten
Reed N. Hawthorne
Charles W. Herbert
John L. Herrmann
Sid Hickox
Gerald Hirschfeld
Robert Hoag
Winton Hoch
David S. Horsley
Erich Horvitch
James Wong Howe
Allan E. Irving
Fred W. Jackman
Wm. H. Jansen
Ray June
Boris Kaufman
W. Wallace Kelley
Benj. H. Kline
Lloyd Knechtel
H. F. Koenekamp
Milton Krasner
Charles B. Lang, Jr.
Joseph LaShelle
Ernest Laszlo
Charles C. Lawton, Jr.
Sam Leavitt
Paul K. Lerpae
Lionel Lindon
Leo Lippe
Harold Lipstein
Walter Lundin
Joe MacDonald
Jack MacKenzie
Don Malkames
Fred Mandl
Ricardo Marcelino
J. Peverell Marley
Harold J. Marzorati
Rudolph Mate
Ted McCord
Wm. C. Mellor
Ray Mercer
Russell L. Metty
Arthur C. Miller
Ernest W. Miller
Virgil Miller
Victor Milner
Hoi Mohr
Ira H. Morgan
Nick Musuraca
Harry C. Neumann
Roy Overbaugh
Louis Page
Ted Pahle
J. F. Painter
Kenneth Peach
R. W. Pittack
Robert H. Planck
Frank Planer
Frank Redman
Ray Rennahan
Irving Ries
Irmin Roberts
George H. Robinson
Guy Roe
Len H. Roos
Jackson Rose
Charles Rosher
Harold Rosson
John J. Russell, Jr.
Joseph Ruttenberg
Robert Sable
Charles Salerno, Jr.
David Savitt
James Seeley
John Seitz
Leon Shamroy
Henry Sharp
William A. Sickner
Wm. V. Skall
Edward Snyder
Wm. F. Snyder
Harry Squire
Ralph Staub
William Steiner, Jr.
M ack Stengler
Alan Stensvold
Clifford Stine
Harold Stine
George Stoetzel
Archie J. Stout
Harry Stradling
Walter Strenge
Karl Struss
Robert L. Surtees
Philip Tannura
Stuart Thompson
Robert Tobey
Leo Tover
Thomas Tutwiler
James V. Van Trees
Paul C. Vogel
Joseph Walker
Gilbert Warrenton
Harold E. Wellman
Albert Wetzel
Lester White
Harry Wild
Wm. N. Williams
Rex Wimpy
Frederick A. Young
Frank C. Zucker
ASSOCIATE MEMBERS
Herbert Aller
Simeon Aller
Mark Armistead
L. J. Baker
Cecil Bardwell
Benj. Berg
Edgar Bergen
John Bishop
Louis A. Bonn
L. M. Combs
J. L. Courcier
George Crane
Edward P. Curtis
Wm. A. Cushman
Dr. C. R. Daily
John DuVall
William Eglinton
Ferdinand Eich
Fred W. Gage
Wm. J. German
George H. Gibson
Henry Goldfarb
Alan Gundlefinger
Charles Handley
Robert Hansard
Ted Hirsch
Wilton R. Holm
Emery Huse
Donald Hyndman
W. F. Kelley
Wilson Leahy
Sidney Lund
Dr. C. E. K. Mees
Lewis L. Mellor
Garland C. Misener
Peter Mole
Hollis Moyse
0. W. Murray
Capt. Don Norwood
Norman F. Oakley
V al E. Osborne
Emil Oster
Harry E. Pratt
H. W. Remerscheid
Robert Riley
Loren Ryder
Sidney P. Solow
Earl Sponable
John J. Swain
Randall Terraneau
Wm. J. Wade
Jack Webb
Robert Voung
INACTIVE MEMBERS
Russell Cully
Faxon Dean
Harry Hallenberger
G. Floyd Jackman
Glenn Kershner
Ernest Palmer
Harry Perry
Paul Perry
Sol Polito
Gordon B. Pollock
George Schneiderman
Douglas Shearer
HONORARY MEMBERS
E. O. Blackburn
A. S. Howell
G. A. Mitchell
American Cinematographer • February, 1955
Film Editing Made Easy
with NEW
professional
film viewer
for 35mm and 16mm
Every film editor will appreciate a
viewer that enables him to view
his film from left to right — on a large,
brilliantly illuminated screen.
The Professional Film Viewer makes
film editing a breeze. Easy
threading, portable, will not
scratch film. Put this viewer between
your rewinders and speed up your
editing. Size of Viewing Screen 53A x 43A.
35mm Model $375
16mm Model $350
FRANK
C . Z U C K E R
(TflmcRn €
ouipmetu (o.
i6oo BROfloujqy
\ nt in yoRK cuy
Write
Dept. A- 1 -5
FILM PRODUCTION AT
THE UNIV. OF OKLA.
(Continued from Page 95)
Lighting
Equipment
for
For work other than sync-sound, we
rely heavily on the Eastman Cine Kodak
Special for all- round use. The Mitchell
and Maurer cameras are desirable as
studio cameras, and we hope eventually
to obtain a camera of this type. The Bell
& Howell 70 is a rugged camera for
field work.
For sound-stage lighting the following
equipment is used: Two 2000-watt spot¬
lights and eight 1000-watt bucket-type
flood lights. A master switch with a 16-
hole plug-in box is connected to 100-ft.
of large (0) three phase cable. Within
the switch the current is split from 220
volts to 1 10 volts. The lights from this
switch may be put on dim for rehears¬
ing, and just before shooting begins,
switched to bright. This sound-stage
light is augmented by three sets of
Colortrans, one 5000-watt set, one 2000-
watt set, and one 750-watt set. On loca^
tion we use the Colortran units exclu¬
sively because it is easy to get a great
amount of light from small amperage,
and because the units are easy to carry,
setup, and move about.
The following camera lenses are used :
MOTION PICTURES - TELEVISION
Write For Catalog
SCHOEN & CROWE
403 West 47th Street • New York 36, N. Y.
DISTRIBUTOR FOR BARDWELL-McALISTER
SPECIALIZED TITLES and SPECIAL EFFECTS
Motion Picture or Television, 35mm-16mm, Black & White or Color
RAY MERCER & COMPANY
4241 Normal Ave., Hollywood 29, California
NOrmandy 3-9331
We Welcome DAV MCDrcD ACr 30 Years Experience
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American Cinematographer
February, 1955
97
for
PROFESSIONAL JUNIOR TRIPODS
Swivel Ball Joint Attachment can be mount¬
ed between head and tripod body in a few
seconds and without any technical knowl¬
edge. Swivel Ball has enough tightening
strength to hold the largest and heaviest
movie cameras, permits leveling camera
quickly when tripod is set up on uneven
ground. Ball Attachment is made of light¬
weight aluminum, weighs approx. 3 y2 lbs.
Ten Day Money-Back Guarantee
Write for Catalog and Prices
CINEKAD
ENGINEERING COMPANY
500 West 52nd St., New York 19, N.Y.
Plaza 7-3511
DESIGNERS AND MANUFACTURERS OF
MOTION PICTURE— TV EQUIPMENT
- - - — - i
Advantage Never Before Offered! |
SWIVEL BALL JOINT
ATTACHMENT
FILM EDITING
EQUIPMENT
1 6MM - 35MM
• PICTURE
SOUND
Photo and
Magnetic
• SYNCHRO¬
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• REWINDERS
One of the
new series 20
Moviolas for
picture ond
sound.
Write lor
Catalogue
MOVIOLA MANUFACTURING CO.
1451 Gordon St. • Hollywood 28, Calif.
MOVIOLA
"'Well Pay Mote"
because we NEED
ART-13 - DY-11 or 12 - CU-25
BC-221 - RA-34F - TS-62
TS-382 - TS-147 - TS-148
r&6<ute on TOine @oUec€~
ASSOCIATED INDUSTRIES
SttfS STanley75458
One 25mm Kodak Ektar // 1.4, one
25mm Kodak Ektar // 1.9, one 25mm
Cooke Kinic //I :5, two 15mm Kodak
Ektar // 2.5, one 25mm to 15mm Ektar
Converter for 25mm // 1.4 lens, one
17mm Bell & Howell Anix // 2.7, one
50mm Kodak Anastigmat //1.4, one
50mm Taylor. Taylor, Hobson //1.4,one
75mm Bausch and Lomb Tele-Animar
Balcote // 2.7, one 102mm Kodak An¬
astigmat jf/2.7. For production work the
25mm lenses are used the most. The
longer lenses are only used when it is
absolutely necessary, such as for football
coverage, making titles, and extreme
closeup work. For normal production
scenes we do not use the longer lenses
because of perspective distortion. The
wide angle lens is used in close places
and for angle effects. Also w'e recently
purchased the Paillard Pan-Cinor 20mm
to 60mm zoom lens. This lens is used
very effectively in place of dolly shots.
For motion picture editing the Bell &
Howell and the Franklin viewers are
used between large Bell & Howell and
Entire Production Filmed on Location
SCENE of thrilling Indian charge in Ul’s “Chief Crazy Horse,” photographed in Tech
nicolor and CinemaScope by Harold Lipstein, A.S.C.
WHEN director of photography Harold Lipstein and his camera crew journeyed to South
Dakota to photograph Universal-Inter ational’s “Chief Crazy Horse,” it marked one of
the few times that a major feature production had been filmed entirely on location.
Interiors were even shot on location in tepees and rough log structures erected at the
location site. Here Lipstein’s crew awaits director George Sherman’s signal to “roll ’em!
Production stars Victor Mature and Suzan Ball.
98
American Cinematocrapher
February, 1955
Neumade rewinds. Placed in between
the large rewinds and a few inches for¬
ward are 400 ft. capacity rewinds. Two
Griswold splicers with 1/16" blades are
used. For a sound reader and ‘‘squawk-
er” the sound unit of a Victor projector
was modified, mounted, and attached to
an amplifier and speaker. The Moviola
four-gang synchronizer is used for final
editing.
One RCA projector and 2 Bell &
Howell projectors are used for editing
and projection work. One Bell & Howell
projector is equipped with a sync motor
for use in conjunction with our sync
recorders. The other Bell & Howell is a
variable speed silent projector.
At Oklahoma only magnetic recorders
are used due to the fact they are easy to
handle by the one- and two-man crews;
they record excellent sound, and we can
play back the sound immediately to hear
what we have recorded. If it isn’t satis¬
factory we record again without waste
of materials (other than picture footage
if shooting sync-sound). There are other
advantages, but the one named is the
main one. One recorder in use is The
Calvin Company’s Magnefilm Recorder
(16mm magnetic film) which runs at
72 feet per minute. This recorder is
sync-motor and sprocket driven. It gives
excellent results and makes possible sync
playback against a sync projector. For
!
C. ROSS
FOR
LIGHTING EQUIPMENT
Inkie and Arc Lamps including Required Accessories
Generators — Cables — Boards — Boxes
•
Raby Camera Crane — Dollies — Blimps — Geared Heads
l' • ^
GRIP EQUIPMENT
FOR LOCATION AND STUDIO
Parallels — Steps — Platform Ladders
Century Stands — Reflectors — Flags — Scrims
•
SOLE EASTERN MOLE-RICHARDSON CO. DISTRIBUTOR
RENTALS • SALES • SERVICE
CHARLES ROSS, Inc.
333 WEST 52nd STREET
NEW YORK 19, N.Y. Circle 6-5470-1
WE DELIVER AND PICK UP
ANYWHERE IN THE U. S.
Movie-making, stage lighting, feature exhibits,
■ m I v
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for unusual, specialized lighting,
you can depend on
JACK A.
fW
The Foremost Name in the Lighting Industry
conventions are lighted dramatically, efficiently
and economically by Jack Frost. Jack Frost's
unequalled national service includes complete
installation and removal . . . wherever you are.
FREE ESTIMATES GIVEN
FREE CATALOG ON
RENTAL EQUIPMENT
MAIL COUPON OR
CALL, DETROIT
TRINITY 3-8030
JACK A. FROST, DEPT. J
234 PIQUETTE AVE.
DETROIT 2, MICH.
Please send me free catalog giving list of
equipment and full information on your
service.
NAME _
RENTAL EQUIPMENT FOR DISPLAYS . . . MOTION
PICTURE, TELEVISION, CONVENTIONS, THEATRICAL
ADDRESS.
CITY _ ZONE _ STATE _
I _ I
American Cinematographer
February, 1955
99
LAB-TV
Professional
16MM BLACK & WHITE
REVERSAL
PROCESSING
Processing on
hourly schedule for
leading TV Stations and
Producers
FASTAX SPECIALISTS
Write for Circular
247 W. 46th St.
New York 36, N. Y.
T Ready- £ddy W
U. S. Registered Trademark
FOURTH YEAR — USEFULNESS ACCLAIMED
BY THOUSANDS
1001 Ready Sound-Film
Editing Data:
• Footage • Frame
Count • Screen Time
e 35mm and 16mm
equivalents.
Plastic computer for
everyone in movies
and TV, from script to
screen.
$2.00 Prepaid
(Delivered in U.S.A.)
ASK FOR REPRINT OF ARTICLE
IN AMERICAN CINEMATOGRAPHER.
IT rite or ask your dealer
READY-EDDY, Sandy Hook, Conn.
1 6MM, 35MM FOOTAGE
WANTED
Interested in stock motion picture
footage of game, wildlife, jungle,
desert, mountain background.
Also sea and harbor material.
Write to
Neil Ames
P. O. Box 1242
Studio City, California
editing and final production work such
an arrangement is necessary. The other
recorder we use is the l/^-inch Magne-
corder with Rangertone sync attachment.
Other miscellaneous equipment: One
Akeley Gyro tripod, two Camera Equip¬
ment Co. Professional Junior Tripods,
two Eastman Kodak tripods, one Hol¬
lander Nu-Rail dolly (light aluminum
dolly with two seats), one sunshade-
matte-box filter holder, grip equipment,
two 10-foot light towers (workman’s
scaffolding), 500 feet of No. 14 two-
wire extension cord with lengths bro¬
ken into units of 5 and 50 feet and using
stage plugs; also light meters and assort¬
ed small items.
For art work we use the services of
the Department of Medical Illustration
of the School of Medicine, or have the
work done at a commercial film lab.
Nearly all our productions are shot on
regular or Commercial Kodachrome. We
try to send exposed film to the lab in
before the building occupied by the Na¬
tional Armored Car Service. Five hooded
men get out and force entrance to the
building and soon have looted it of two-
and-a-half million dollars in cash, which
they transfer to the van.
Cinematographer Daniels would refute
the argument of certain critics who
maintain that every motion picture today
should be in color. The very dramatic
values of this sensational story owe
much of their pictorial force to the fact
that it was photographed in black-and-
white.
A sequence in the picture lit with
particular skill — and a sequence which
sustains Daniels’ argument for black-
and-white film for the picture, occurs in
the very beginning when officer Gal¬
lagher, walking his beat at night, hears
noises from within a closed grocery
store. Investigating, he sees dark figures
racing out the back door and gives pur¬
suit. In a dead-end alley, unable to halt
their flight with shouted commands, Gal¬
lagher shoots. Tony Curtis, writhing
from a bullet in the groin, is captured.
The tense, ominous mood demanded for
this sequence could hardly have been
achieved in any other way than by the
masterful low-key lighting and the stark
and realistic camera treatment which
Daniels accorded it.
Skillful handling of the camera to
point up suspense is admirably demon¬
strated in another sequence toward the
close of the story. Before detective Gal¬
lagher arrives at a warehouse, where
Curtis has arranged a rendezvous that is
to solve the robbery, Curtis holds an¬
other meeting there — this time with the
batches which represent complete, se¬
quences. Exposed footage is sent to East¬
man Kodak, Chicago, or to Eastman
Kodak, Dallas, for processing. When the
originals have been returned they are
projected and viewed only once with a
Bell & Howell projector, which has been
given special care to prevent damage to
film. During this initial projection, the
NG takes are marked with a small piece
of tape and later deleted. 4 he selected
footage is then sent to a laboratory from
which is made an edge-numbered black-
and-white workprint.
We hope that our story of film pro¬
duction at the University of Oklahoma
may be of help to other collegiate groups
who are beginning production or are in
production. We feel that the U. of 0.
Motion Picture Unit has come a long
way since 1947, and we are always glad
to be of service to those wishing to dis¬
cuss similar production problems.
hoodlums who had helped him pull the
big job. He tells them to get out of town
quick, as he plans to turn himself and
the fabulous loot over to the police. The
hoodlums are flabbergasted, then angry.
A gun battle ensues. But before it is
broken up by the arrival of Gallagher
and the police, Daniels’ camera has cov¬
ered the action most suspensfully. The
photography here achieves powerful im¬
pact through a combination of stark
lighting, wide-angle compositions, and
well-chosen camera angles.
From beginning to end, the photogra¬
phy of “Six Bridges To Cross” is marked
by a fine blend of realism and technical
smoothness. It is a separate artistic en¬
tity — and yet it merges smoothly with
the direction, script and action to result
in a skillfully integrated production.
EDGE NUMBERING
(Continued from Page 81)
torque motor. Instead of the regular
speed of 50-ft. per minute, the machines
were geared up to move the film along
at 145 feet a minute. To permit close
check on the ink supply while the
machine is running, a stroboscopic view¬
ing device was installed. A flash tube
illuminates the numbers, which are then
viewed through erecting prisms and a
low-powered magnifier. A micro switch
on the sprocket triggers the light.
Still another adaptation was developed
by S.O.S. Cinema Supply Corp. for edge
“SIX BRIDGES TO CROSS”
(Continued from Page 79)
100
American Cinematographer
February, 1955
Precision Eurft Combination Sound Readers
|
OPTICAL
Model 600 . 16mm and 35mm
NET PRICE $185.00
MAGNETIC
Model 700.... 16mm, 17.5mm, 35mm
and % inch
NET PRICE $198.00
OPTICAL-MAGNETIC
Model 800 . 16mm, 35mm & V4 inch
NET PRICE $259.50
FEATURES: Simple threading . . . polished stabilizer drum with needle bearings, with a surface which cannot damage
film . . . film rollers machined to conform with SMPTE standards, and equipped with oilless bearings . . . precision
ground shafts . . . dimension 6x6x7% inches.
AMPLIFIER: 117 volt — 60 cycle — AC . . . power output — 4 watts . . . heavy duty Alnico
V speaker . . . safety fused . . . prefocused socket . . . pilot light ... 6 ft. heavy duty cord.
All Prices F. O. B. Factory, Brooklyn, New York
Write for Literature
PRECISION LABORATORIES • 1139 UTICA AVENUE • BROOKLYN 3, NEW YORK
numbering the 65mm film used in the
new Todd-AO process. In this film the
numbering appears every 20 frames
instead of every 12 inches, as on stand¬
ard 35mm film.
WCBS-TV, New York City, applies
edge numbering to all its TV newsreel
films supplied to subscriber stations.
When the films are returned, they may
be instantly identified through the edge
numbers, even though the lead titles
may have been replaced with commer¬
cials.
When Joseph A. Tanney, president of
S.O.S., was in Hollywood recently, still
another use for the Moy numbering
machine was proposed. A producer for
TV films told him that his magnetic
film, of which he uses a great deal, had
a way of disappearing at a rather alarm¬
ing rate. (After erasure, it can be used
again: and as a commodity, finds some
none-too-scrupulous buyers.) The pro¬
ducer suggested that a Moy machine be
provided which would enable him to
print his company’s name on the edge
of every foot of magnetic film for identi¬
fication and protection against theft.
But it is in actual film production
where visible edge numbering of film is
most practical and helpful. The time it
saves a film editor, not to mention the
accuracy of synchronization that it in¬
sures, more than justifies the small cost.
Model 35-I6C
SENSITESTER
ART REEVES MOTION PICTURE EQUIP.
7512 Santa Monica Blvd.
Hollywood 46 California
★ IMMEDIATE DELIVERY
to the lab owners interested in —
• DUAL MACHINE
1 — Sensitometer
2 — Scene Tester
Combination 35mm-l 6mm
• HIGHLY ACCURATE
Electronic timer unaffected
by climatic changes.
• NEW TYPE LONG-LIFE
Cold Light Exposure Unit
• WITHOUT ADDITIONAL
EXPENSE will match any
printer
American Cinematographer
February. 1955
101
Booklets Catalogs Brochures
available from equipment manufacturers
For Cine Cameraists
“How to Take More Exciting Movies”
is title of informative and well-illustrated
booklet recently issued by Elgeet Optical
Company, Inc., 835 Smith Street, Ro¬
chester, New York. Even if you are an
old hand at shooting home moives, you
will benefit by the data contained be¬
tween the covers of this diminutive book¬
let. Copies are free.
★
Color Correction
“What Color Correction Means” is
title of 22-page booklet available from
Bausch & Lomb Optical Co., Rochester
2. N. Y. Diagrams and photos combine
with the text to explain as simply as
possible what color correction in photo
lenses means in terms of improved
picture quality. As the booklet con¬
cludes, “The best lenses have always
been fully color corrected.”
★
Cine Manual
Superior Bulk Film Co., 442-450 No.
V ells St., Chicago 10, Ill., has just is¬
sued a new 52-page cine manual packed
with interesting information and values
for the movie amateur. It is the largest
and most complete catalog ever put out
by this company. In addition to bulk
film and processing equipment, the
manual illustrates and describes an ex¬
tensive line of movie editing equipment,
screens, splicers, viewers, rewinds,
meters, etc. Copies are free.
★
Production Equipment
Illustrated leaflets and brochures are
now available for all items of major
motion picture production equipment
now handled by Florman & Babb, 70
West 45th St., New York 36. One of
the most interesting of these brochures
is a Rental Price List of Motion Picture
Equipment, giving both daily and
weekly rental rates on just about every
item of equipment imaginable.
★
Aurkon Camera Catalog
Details and specifications and prices
of Aurieon 16mm s.o.f. cameras and re¬
corders are contained in an attractive 9
by 12 booklet recently issued by Berndt-
Bach, Inc., 6902 Romaine Street, Holly¬
wood 38, Calif. Included as part of
booklet are a number of reprints of
magazine articles which illustrate and
describe various items of Aurieon equip¬
ment in actual use. Several pages are
devoted to prices of all the company’s
equipment and accessories.
★
Set Lighting
“Paint With Eight” is title of 9 by 12
booklet available from Bardwell &
McAlister, Inc., 2950 Ontario Street,
Burbank. Calif., which illustrates and
describes the company’s line of motion
picture set lighting equipment and ac¬
cessories. These include the baby keg
lite, baby keg boom lite, junior spot,
senior spot, and fill lights. Copies are
available to those in the industry making
inquiry on company letterhead.
ir
Trick Stuff
“Tips on Movie Making Tricks” is
title of one of several “tips” booklets
presently available to amateur movie
makers from the Bell & Howell Com¬
pany, 7100 McCormick Road. Chicago
45. Ill., or from any photo dealer
handling Bell & Howell equipment. Il¬
lustrated and described are methods for
making reverse motion shots, upside
down camera shots, ghost shots, distor¬
tion, etc. It’s worth many times its small
cost of 5 cents.
★
Arriflex Cameras
Details and specifications of the Arri¬
flex line or mirror reflex motion picture
cameras have been combined in a re¬
cently released brochure by Kling Photo
Corp., distributors of Arriflex cameras
and related equipment. Copies may be
had by writing the company at 235
Fourth Ave., New York 3, N. Y.
Lab Services
A four-page brochure now available
to independent film producers and cam¬
eramen describes the scope of profes¬
sional laboratory services available from
LAB-TV, 247 West 46th St., New York
36, N. Y. The company specializes in
processing 16mm black-and-white film
and offers the production speed required
for professional TV work.
★
For Sound Recorders
Again available from Shure Brothers,
Inc., manufacturers of microphones and
acoustic devices, is their revised general
catalog No. 44B. It contains illustrations
and data on Shure microphones for all
applications; mike accessories; magnetic
tape; recording heads, etc. Address
your request to the company at 225 West
Huron St., Chicago 10. Ill.
SPEED IN PROCESSING
(Continued from Page 89)
solutions of radically new formulas,
which doubled and quadrupled film
processing speeds.
Today, with television stations vying
with one another in getting their daily
newsreels and spot events on the air,
the one thing that counts most is how
quickly can the film be “put through
the soup? Thanks to horse racing, and
perhaps to a very few rough-riding
jockeys whose riding tactics required
closer watching than human eyes and
binoculars could give, the fast film
processing machine has evolved to be¬
come perhaps the most important single
piece of equipment of the film depart¬
ments of TV stations.
Among the most popular equipment
of this kind is the Bridgamatic Models
RT-R and R-TV, distributed by S.O.S.
Cinema Supply Corp., New York; the
Houston-Fearless Model 11-B automatic
film developer, manufactured by Hous¬
ton-Fearless Corp., Los Angeles, Calif.;
the Hills Filmatic 16mm film processor,
manufactured by Hills Mfg. Co., Phila¬
delphia, Pa.; and the Camart Film-A-
Tronic 16mm developing machine which
is distributed by The Camera Mart, Inc.,
New York.
With any of these machines, thanks to
the new, fast 16mm negative stocks now
available and new high-energy process¬
ing solutions, television stations may now
handle their own film processing, en¬
abling them to get newsreel films on the
air within minutes of the time the film
is fed into the processing machine. And
where scoops and positive deadlines are
a big factor, as they are in TV newsreel
production and transmission, it is easy
to understand the important part these
new, speedy film processing machines
play in the success of a newsreel opera¬
tion.
POINT OF VIEW
( Continued from Page 92)
it is plain to see that he is bigger than
the dogs. In our mind we assume that
because he is the dominant figure in the
scene, he will probably win out against
the odds.
On the other hand, let’s view the same
scene from a high angle. Now the dif¬
ference in size between the man and the
dogs is less obvious. He becomes a hunt¬
ed thing, nakedly exposed to the cam¬
era’s commanding eye — and the audi¬
ence is made to feel superior to him. in
a compassionate sort of way.
The high angle, then, is used to best
advantage when one wishes to make the
102
o
American Cinematographer
February, 1955
audience feel superior to (or feel sorry
for) the players in the screen situation.
Aside from its psychological aspect, the
high-angle shot gives a more comprehen¬
sive view of the situation, and creates a
lofty perspective that is especially valu¬
able in introducing a new locale.
The Low- Angle Shot: Departing from
the conventional eye-level shot in the op¬
posite direction, we find the low-angle
to he one of the most dramatic points-
of-view available to the cameraman. The
basic effect of the low-angle is completely
different from that of the high-angle,
since it tends to exaggerate the import¬
ance of the subject which it portrays.
The low-angle forces the perspective of
the scene, so that a character thus shown
seems to be taller than he really is, and
can be made to actually loom into the
composition. For this reason he more or
less dominates the audience psychologi¬
cally and places it on the defensive. Thus,
the low-angle shot is especially effective
in sequences where a menace is to be
portrayed, or where the influence of the
character is to be built up for a particu¬
lar reason of plot. Films with a sinister
or mystery theme benefit especially from
angles of this type.
In a sense, it can be said that a low-
angle is an intimate sort of angle, be¬
cause it often serves to bring the audi¬
ence more completely into the atmos¬
phere of the scene. Let us suppose, for
example, that a character is shown flee¬
ing from the police by crawling through
some undergrowth. An eye-level shot of
the scene would show the details of the
scene quite clearly, but would hardly in¬
spire the desired emotional reaction from
the audience. On the other hand, if the
same action were shot from a low angle,
the fugitive would come crawling right
up into the lens where the audience
could see the terror in his eyes. It would
be almost as if the spectators were in the
actual locale with him, experiencing the
same emotions.
Another function of the low-angle shot
— and one which is quite effective — is
that of pointing up the compositional im¬
portance of a commonplace static sub¬
ject. A radio tower, for example, is just
a radio tower when viewed from a
straightforward angle — but shot from a
low angle, it becomes an imposing monu¬
ment of steel towering into the sky.
Oftentimes, by adopting a low angle,
the cameraman can eliminate distract¬
ing backgrounds and show his subject to
best advantage against the sky. Or, as a
variation of this technique, he can create
effective composition or symbolism by
shooting the subject from a low vantage
point against a dramatic background. In
any event, the low-angle is a very strik¬
ing point-of-view if used correctly — and
not too often.
Framing Your Scenes: When a sub¬
ject in a scene is framed by another
object, a direct relationship is established
between that subject and its locale. A
house framed by trees, for example, is
no longer just a house — but part of the
landscape.
One of the most effective composition¬
al treatments is the shot in which back¬
ground subjects are framed by an ob¬
ject in the foreground. This treatment
gives added depth and perspective to the
scene and tends to draw the audience
into the action.
Photographically, such scenes are a bit
more tricky to shoot, since they require
a great depth-of-field if both planes of
composition are to be rendered in accept¬
able focus. This means that a wide-angle
lens should be used, with sufficient illum¬
ination to allow the lens to be stopped
down as far as possible.
The framing of a scenic shot having a
person in the foreground provides a fine
measuring stick for size and distance. If
the focus must favor one of the two sub¬
jects, it should be the one that is the
most important in the scene.
Point-of-view in movies depends great¬
ly upon the perpective obtained by the
lens used — which, in turn, depends di¬
rectly upon the focal-length of the lens.
The standard lens (1 inch for 16mm.
cameras) produces a so-called normal
perspective. That is, it covers practically
the same angle of view as the human
eye. It shows the subject clearly and
without any exaggeration of line or
proportion.
The wide-angle lens, on the other
hand, forces the perspective of the scene,
makes settings look larger than they
actually are, exaggerates apparent dis¬
tances, and allows for dramatic compo-
(Continued on Next Page)
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American Cinematographer
Ferruary, 1955
103
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sition because of its inherently great
depth-of-field.
The telephoto (or long focal-length)
lens tends to flatten out the separate
planes of the scene, while magnifying
the subject. Because of its short depth-of-
field. it is a fine lens for closeups. since
it throws distracting backgrounds out of
focus.
These characteristics should be kept in
mind when the selection of a lens is be¬
ing made for a particular scene. The
choice of lenses will have much to do
with the point-of-view from which the
scene is shown.
Let us suppose that you are filming a
sequence in a long corridor and you wish
to point up the setting itself. If you use
your standard lens at eye-level, the scene
will be photographed with normal per¬
spective, and the corridor will be noth¬
ing more than unobstrusive background
for whatever action develops. But if you
photograph the same scene from a low
vantage point, using a wide-angle lens,
screen play, and consequently upon the
play’s success. Simply explained, the
function of cinematic mood is to create
a sort of psychological setting in which
the audience-mind is stimulated to move
about and explore the deeper meanings
of the screen story.
Contributing most directly and most
forcefully to the synthesis of cinematic
mood is the motion picture camera, and,
of course, the man who directs the photo¬
graphy. Aside from the physical tools
such as lenses and film, the materials
which the director of photography em¬
ploys to create the illusion of mood pic-
torially are lighting, camera angles and
camera movement. Of these, lighting is
the most fundamental, since it is the
interplay of light and shadow that deter¬
mines the photographic key of the scene
if not the entire production.
High-key lighting, characterized by
brilliant source light with strong fill,
produces a light, airy mood especially
adaptable to comedy themes and action
drama. Low-key lighting, consisting of
a predominance of dark tones with softly
lit highlights, creates a richly dramatic
mood especially suited to love, mystery
and suspense stories.
In the low-key lighting pattern,
shadow and silhouette play a major role.
Shadow suggests the unknown and, cor¬
rectly used, can be built up into an al¬
most tangible force threatening the pro¬
tagonist. By playing down all but the
most important areas of action, a more
forceful emphasis is produced. Silhou¬
ette, too, is a device which, because of
the whole point-of-view of the scene will
be changed. The perspective of the cor¬
ridor will be forced so that it will appear
to be twice as long as it really is. The
lines of perspective will taper off to a
distant point. The tilt created by the low
angle will cause straight lines to lean
just enough to give the setting a drama-
tice appearance. Figures in the scene will
seem to loom forcefully into the composi¬
tion. What was once an ordinary scene
is now a dramatic, suspenseful situation.
This sort of set-up, of course, should only
be used when the mood of the story de¬
mands such an atmosphere — never just
for the sake of novelty.
Camera “point-of-view, in the final
analysis, depends primarily upon the
cameraman's choice of angle in a speci¬
fic scene or sequence. In any event, he
must match the viewpoint of his camera
to the mood and pace of the story, select
angles that clearly show the action, and
show what there is to be shown in a
fresh and original way.
the detail it omits, places greater empha¬
sis upon the background, upon more
brightly illuminated players in the scene,
or upon the dialogue, as the case may
be. Some excellent examples of the
skillful use of light in creating mood are
to be found in “A Star Is Born,” photo¬
graphed in color by Sam Leavitt, A.S.C.,
and in “There’s No Business Like Show
Business,” also in color and photo¬
graphed by Leon Shamroy, A.S.C., three
times winner of Academy Awards
for photography.
Camera angle represents the point-of-
view from which the audience, by means
of the camera lens, is led to perceive a
specific bit of action. The selection of
that angle can do much to condition the
mood of the scene. Viewed from above,
for example, an action sequence takes
on an epic sweep — as in the scenes of
maurading Indians in the recently-
photographed “Chief Crazy Horse,’
filmed by Harold Lipstein, A.S.C., for
Universal-International. Viewed from a
low angle, the same action gathers force
through optical distortion that makes the
players loom large in the composition;
height is accentuated and they dominate
the frame.
Camera movement, too, is strongly
conducive of mood in that it allows the
audience to experience various points-of-
view of the filmic situation, moving
smoothly from one to another without in¬
terruption of the camera. A continuous
atmosphere is thus created and main¬
tained.
All directors of photography recog-
THE ROLE OF THE CAMERA
(Continued from Page 83)
104
American Cinematographer
February, 1955
nize mood as an indispensable element of
cinematography, although each will have
a slightly different approach or tech¬
nique in achieving it. As Lee Garmes,
A.S.C., once so aptly remarked, “The
dominant mood of the picture is, of
course, decided upon before a camera
turns. But it is not the kind of thing
one can write down on a piece of paper
and then forget about. Mood grows
from scene to scene as the photography
of a picture progresses. It is on the
sound stage that one really senses the
little subtleties of interpretation that will
convey to the audience something over
and above the impression created by the
action and dialogue alone. It is then a
matter of adapting the lighting, camera
angles and camera movement to enhance
the mood.”
This treatise on the role of the motion
picture camera would not be complete
without dwelling upon the specialized
camera technique that is employed in
filming what have become known as
“musicals — or more specifically the
musical and dance routines of such
pictures. Now the director of photo¬
graphy works closely with a new per-
(Continued on Page 107)
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American Cinematographer
February, 1955
105
TELEVISION
Feature and television film productions for which members of the American Society of
Cinematographers were engaged as Directors of Photography during the past month.
AMERICAN SOCIETY
OF CINEMATOGRAPHERS
FOUNDED January 8, 1919, The Ameri¬
can Society of Cinematographers is com¬
posed of the leading directors of photog¬
raphy in the Hollywood motion picture
studios. Its membership also includes non¬
resident cinematographers and cinematog¬
raphers in foreign lands. Membership is
by invitation only.
•
BOARD OF GOVERNORS — 1954
Arthur Miller, President
Sol Halprin, First Vice-President
Ioseph Ruttenberg, Second Vice-President
Alfred Gilks, Third Vice-President
Walter Strenge, Treasurer
Philip Tannura, Secretary
Robert de Grasse, Sergeant-At-Arms
John Arnold
Joseph Biroc
Arthur Edeson
George Folsey
Lee Garmes
Victor Milner
Hal Mohr
Leon Shamroy
ALTERNATE BOARD MEMBERS
Arthur Arling
Lucien Ballard
Dan Clark
Paul Eagler
Farciot Edouart
Ernest Laszlo
Robert Pittack
John Seitz
James Van Trees
Paul Vogel
ALLIED ARTISTS
Harold Lipstein, “Wichita,” (CinemaScope,
Technicolor) with Joel McCrea, Vera Miles.
Jacques Tourneur, director.
William Sickner, “Dark Adventure," with
Frank Lovejoy, Peggie Castle. Harold Schus¬
ter. director.
METRO-GOLDWYN-MAYER
Arthur Arling — “Love Me or Leave Me,”
(Color, Cinema-Scope), with Doris Day and
James Cagney. Charles Vidor, director.
George Folsey— “The Cobweb,” (Eastman-
Color, CinemaScope), with Richard Widmark
and Lauren Bacall. Vincente Minnelli, di¬
rector.
Robert Planck — “The King's Thief." ( East-
manColor, CinemaScope), with Ann Blythe
and Edmund Purdom. Hugo Fregonese, di¬
rector.
PARAMOUNT
Lee Garmes — “The Desperate Hours.” (Vista-
Vision), with Humphrey Bogart and Martha
Scott. William Wyler, director.
Ray Rennahan — “The Court Jester,” ( Dena
Prods.-Technicolor ; VistaVision), with Danny
Kaye and Glynis Johns. Norman Panama and
Melvin Frank, producers-directors.
Robert Burks — “The Vagabond King,'
(Technicolor; VistaVision), with Kathryn
Grayson and Oreste Kirkop. Michael Curtiz,
director.
Loyal Griggs and Wallace Kelley — “The
Ten Commandments,” (Technicolor; Vista¬
Vision), with Charlton Heston, Anne Baxter
and cast. Cecil B. DeMille, producer-director.
William Daniels — “The Girl Rush,” (Tech¬
nicolor; VistaVision), with Rosalind Russell
and Fernando Lamas. Robert Pirosh, director.
20TH CENTURY-FOX
Leo Tover — “Soldier of Fortune,” (Color;
CinemaScope), with Clark Gable and Susan
Hayward. Edward Dmytryk, director.
Charles G. Clarke — “Violent Saturday,”
(Color; CinemaScope), with Victor Mature
and Richard Egan. Richard Fleischer, di¬
rector.
UNIVERSAL INTERNATIONAL
Wilfrid Cline— “Third Girl from the Right,”
retitled “Ain’t Misbehavin’”, (Technicolor),
with Rory Calhoun and Piper Laurie. Eddie
Buzzell, director.
(The following directors of photography
were active last month in photographing films
for television in Hollywood, or were on con¬
tract to direct the photography of television
films for the producers named.)
Lucien Andriot, “Where Were You?, Ken
Murray Productions; “It’s a Great Life,
Raydic Corp’n; “The Life of Riley, Ha
Roach Studios:
Joseph Biroc, “Dear Phoebe,” Dear Phoebe
Productions.
William Bradford. “Gene Autry,” Flying A
Productions.
Norbert Brodine. “1 he Loretta Young Show,
Lewislor Ent.
George E. Clemens, “Schlitz Playhouse of
Stars,” Meridian Pictures.
Edward Colman. “Dragnet,” Sherry TV, Inc.
Robert De Grasse, “Make Room For Daddy,"
Marterto Prods., Inc., and 1 he Ray Bolger
Show,” B & R Ent.
George Diskant, “lour Star Iheatre, loui
Star Productions, Inc.
Karl Freund. “I Love Lucy,” “December
Bride,” and “Our Miss Brooks,” Desilu Pro¬
ductions, Inc.
Frederick Gately, “Mayor of the Town,’
Rawlins-Grant, Inc.
Al Gilks, “The Halls of Ivy,” Television Pro¬
grams of America, Inc.
Sid Hickox. "Willy,” Desilu Prodn’s.
Ben Kline, “Fireside Theatre,’ Frank Wisbar
Prods.
Jack Mackenzie. “Public Defender,” and
“Passport To Danger, Hal Roach, Jr., Pro¬
ductions.
William C. Mellor, “The Adventures of Oz-
zie and Harriet,” Stage Five Prods., Inc.
Virgil Miller, “You Bet Your Life,” Film-
craft Prods.
Hal Mohr, “The Bob Cummings Show,” and
•‘Life With Father.” McC.adden Corp’n.
Nick Musuraca. “Lineup,” Desilu Prods., Inc.
Kenneth Peach, “Here Comes Donald.'
O’Connor Prods.
Robert Pittack, “The Lone Ranger, "Pri¬
vate Secretary,” Jack Chertok Prods.
William Sickner, “The Whistler," Lindsley
Parsons Productions.
Mack Stengler, “Liberace, ’ “Life With Eliza¬
beth,” “Florian Zabach Show," and "Its Fun
to Reduce,” Guild Films.
Harry Neumann, “Spy Catchers,” with Leo
Gorcey, The Bowery Boys. Edward Bernds,
director.
COLUMBIA
Charles “Buddy” Lawton, “Bring Your
Smile Along,” with Frankie Laine, Keefe
Brasselle, Connie Towers. Blake Edwards, di¬
rector.
Henry Freulich, “Jail Bait,” with Tommy-
Cook, Frank Griffin, Molly McCart. Fred F.
Sears, director.
Burnett Guffey. "The Calico Pony,” (Copa
Prods.; CinemaScope, Technicolor) with Van
Heflin, Joanne Woodward. George Sherman,
director.
Charles Lanc — “Female on the Beach,” with
Joan Crawford and Jeff Chandler. Joseph
Pevney, director.
Russell Metty. “All That Heaven Allows,”
(Technicolor) with Jane Wyman, Rock Hud¬
son. Douglas Sirk, director.
Harold Lipstein, “The Private War of Major
Benson,” with Charlton Heston, Julie Adams.
Jerry Hopper, director.
WARNER BROTHERS
John Seitz— “The McConnell Story,” (War-
nerColor; CinemaScope), with Alan Ladd
and June Allyson. Gordon Douglas, director
Peverell Marley, “I Died A Thousand
Times,” with Perry Lopez, Walter Abel, Bev¬
erly Garland. Walter Doniger, director.
Harold Stine. “Superman," Superman, Inc.,
and “Korla Pandit,” Snader Prods.
Alan Stensvold, “Kid’s Adventures,” Frank
Ferrin Prods.
Walter Strenge, “Waterfront," Roland Reed
Productions, and “My Little Margie, Roach,
Jr.-Reed Productions.
Philip Tannura. “Burns And Allen Show
and “The Jack Benny Show,” McCadden
Corp’n.
Stuart Thompson. “Lassie,” Robert Maxwell
Associates.
James Van Trees, “I Married Joan,” Joan
Davis Enterprises and “Hey, Mulligan,
Mickey Rooney Enterprises.
Lester White, “Roy Rogers," Roy Rogers
Productions.
106
American Cinematographer
February, 1955
THE ROLE OF THE CAMERA
(Continued from Page 105)
sonality, one that is not found in the
retinue that produces dramatic pictures.
This personality is the dance director.
The man who has charge of staging
musical routines for the camera. The
dance director today is a serious techni¬
cian who not only knows cinematog¬
raphy but thinks in terms of camera
and plans his routines with a careful eye
for cinematic values.
As for the director of photography,
there are a number of techniques that
apply specifically to the filming of
musical sequences. Basically, the camera
must move on the beat of the music —
and this is a faculty that the ex¬
perienced camera operator develops by
listening to the musical numbers over
and over again until he can virtually feel
the rhythm. In shooting band numbers
it is often necessary to whip the lens
from one instrument to another, syn¬
chronizing the camera movement with
the rhythm of the melody.
Certain technical taboos also exist in
the filming of musical numbers. The
camera operator, for instance, must be
careful not to pan the camera past a
striped background, otherwise a “picket
fence effect will result. Similarly, he
cannot follow a player in closeup with
too long a focal length lens, since the
background will tend to blur in a
manner that is distracting.
Perhaps one of the most difficult
phases of designing musical routines for
the camera is planning where to cut
from one scene to the next. The object
here is to make the cut so that the
change in point-of-view is achieved so
smoothly, there will be no obvious jump
m pace or action. Thus a cut is never
made while the camera is in a panning
action or moving on a dolly or crane.
The cut is made at the end of such
mobile shots.
Some of the most technically-perfect
musical sequence photography is to
be seen in Twentieth Century-Fox’s
“There’s No Business Like Show Busi¬
ness,” previously mentioned; also in
Otto Preminger’s “Carmen Jones.”
Today, photographing a musical num¬
ber is a highly specialized technique,
which involves first of all for the director
of photography and his crew, and for
the dance director, a full knowledge of
what the motion picture camera can be
made to do to enhance pictorially the
intricate and sometimes very difficult
routines which are set down in the
script. It becomes as much a responsi¬
bility of those behind the camera as of
those before it to successfully interpret
a given musical routine, if not actually
to enhance it.
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Into. Kiation mailvj on r.onn.f
SCHEIBE FILTERS COMPANY
ORIGINATORS Of EFFECT FILTERS
P.O. Box 46834, Hollywood 46, Calif.
American Cinematographer
February, 1955
107
SO YOU WANT TO SHOOT INDIANS
(Continued from Page 91)
CINEKAD
JUNIOR TRIPOD DOLLY
This collapsible three-wheel tripod dolly is
especially designed to meet the demon a
for conven ient mobility of cameras on loca¬
tion or in the studio.
Dolly can be used with any professional or
semi-pro tripod.
The tripod is fastened firmly to the dolly
by a clamp at each leg tip.
The special individual caster locking system
makes it possible to lock either two or
three wheels in a parallel position, enabling
the dolly to track in a straight line for
rolling dolly shots.
Dolly folds quickly into a single compact ,
easy-to-carry unit, 23 inches in length,
weighing 14 lbs.
Write for Prices and Literature
CINEKAD
ENGINEERING COMPANY
500 WEST 52ND ST., NEW YORK 19, N.Y.
PLaza 7-351 1
DESIGNERS AND MANUFACTURERS OF
MOTION PICTURES AND TV EQUIPMENT
Automatic Daylight Processing
DEVELOPING TANK
• Processes up to 200 Ft.
• 8mm-l6tnm-35mm
• Movie— X-Ray — Microfilm
• Motor driven portable
• Tough plastic tanks
• Uniform Density Assured
• 70mm tank also available
FILM DRYER
• Motor driven — Heated
• Speedy drying
• Automatic shrinkage allow¬
ance
• Stainless steel and
aluminum construction
• Easily assembled without
tools
• Compact. Portable
Guaranteed. Write for Free Literature.
Micro Record (orp. ££vr
Automatic dissolve attachments for Cine'
Special and Bolcx IT-16 (Equipped with
Pellegrini Shutter)
JOSEPH YOLO, 1037 N. La Brea
Plume GL. 7103 Hollywood, California
and partly in Arizona. The highway that
leads to it is not modern nor paved — but
with due respect to the weather and road
conditions you can go there in your own
car.
There are two ways to reach Monu¬
ment Valley. From the south a good
paved highway, US 89, goes north Irom
Flagstaff, Arizona, to Cameron, a dis¬
tance of about fifty miles. Here you
will find gasoline, lodgings, a coffee shop
and a trading post carrying groceries.
Here too, perhaps, you will see your first
Indians. If you plan to stay in Cameron
overnight, during the summer months
make reservations ahead. U hen you
leave Cameron it would be wise to have
a supply of drinking water and a water-
bag for your radiator. It also is a good
idea to have sandwiches or food along
in case you do not reach Kayenta by
lunch time.
About ten miles north of Cameron,
turn right on an improved, but not
paved, highway to Tuba City — 13 miles.
Tuba is the government's western head¬
quarters for the Navajo Agency, with
brick school buildings, employees’ resi¬
dences, a government hospital for the
Indians, a trading post, a small tourist
court and a coffee shop, which is not
open at all hours.
Leaving Tuba City, go north about
100 miles across the Navajo Reservation
to Harry Goulding's. This is the ques¬
tionable road you should inquire about.
During dry weather it is passable. But
sudden thunder showers or cloudbursts
can turn it into bad going. About 28
miles north of Tuba at Red Lake is
Tonolea Trading Post, where gasoline,
but no cooked food or lodgings, is avail¬
able. kayenta is 52 miles further. Here
you will find gasoline, overnight lodg¬
ings and a coffee shop. From Kayenta
to the turnoff to Goulding’s is 23 miles.
Coming from the north, the road is
better. Start south on Utah 47 from
Monticello. Monticello, Utah, is on US
160, about 16 miles from the Utah, Colo¬
rado, border. Utah 47 is an improved
road almost all the way to Monument
Valley by way of Blanding 21 miles,
Bluff 26 miles, Mexican Hat 27 miles
and 23 miles to Monument Valley Trad¬
ing Post and Lodge turnoff — some 97
miles in all.
When we traveled to Monument
Valley last summer, the weather was
with us and we had good luck. We
came in from the south — and just a few
miles after we left Kayenta we began to
see the famous “monuments’’ — fantastic
weathered rock formations that jut up
from the desert floor and march across
| the horizon.
But we were not prepared for the
setting of Harry Goulding’s Lodge. It
nestles on a ledge above the valley floor,
protected by an 800 foot slick red cliff.
The buildings look small as you ap¬
proach them, so enormous is this back¬
drop. With a thousand or more people
a year now coming into the valley,
Goulding has constructed deluxe accom¬
modations.
He owns a fleet of bright red jeep
station wagons. In these he sends visit¬
ing photographers out into the valley
with a Navajo driver who knows the
country and the people.
The next morning we were itching to
start. But we had to wait until the jeep
was loaded with groceries: sacks of
potatoes, canned goods, coffee and big
tins of fresh water.
Now you can tour the valley in your
own car if it has high clearance and you
want to spend time looking for loca¬
tions, but Goulding’s driver knew all the
choice photographic spots and promptly
took us to them. The little red jeep
traveled like a mountain goat, up on to
mesas, down into washes. Often times
Goulding would, when asked, suggest the
proper exposure. He has taken so many
photographers to the area that he has
now learned to judge the light without
a meter, and his suggested exposures
very nearly matched those dictated by
our meter.
When the sun was high and the
shadows faded out, we pulled in to
the deep shade of a huge rock at the
base of a tremendous cliff. Here a small
fire was started and in a few minutes we
had a pot of coffee going. As we ate
our box lunch we wondered why all
those groceries had been brought along.
And then into our midst came a friendly
little dog followed by two dark-eyed
Navajo boys. Quietly behind them came
“grandma,” as we immediately named
her among ourselves. Goulding opened
a can of Vienna sausage, a can of
tomatoes and a package of crackers and
placed them on a rock — a typical Navajo
gesture when presenting a gift. “Grand¬
ma” curled her feet up under her, grace¬
fully tucked her skirts about her, and
began to share the lunch with the two
little boys. We could hardly wait to in¬
terrupt the liquid flow of “Navajo” dia¬
logue between “Grandma and Goulding
to ask if we could take her picture. He
told us we would visit her later.
Lunch finished, Goulding packed up,
and off we went again chugging along in
the little red station wagon, around a
few abutments into a clearing and right
( Continued on Page 110)
108
American Cinematographer
February, 1955
CLASSIFIED ADVERTISING
10c per word, minimum ad $1.00. Words set in capital letters except 1st word and advertiser’s name, 15c per word. Modified display
format 90c per line. No discount on classified advertising. Send copy with remittance to editorial office, 1782 No. Orange Drive, Hollywood
28, Calif. Deadline 15th of month preceding date of issue.
STUDIO & PRODN. EQUIP. FOR SALE
AFTER INVENTORY REDUCTION SALE
NEW ENCLOSED FILM STORAGE CABINETS,
capacity 20 — 400' reels, 2 drawers, gray
enamelled, $37.50 value . $ 14.95
Lots of 3 — $12.95 Lots of 6 . 9.95
CECO CINE SPEC. BLIMP w/follow focus, $600
value . 425.00
MOLDED TITLE LETTER SETS, 3-D effect, sand¬
ed or pinbacks.
150 all caps 3/4" . $8.50 1 %" . 10.50
246 upper & lower case 3/4" High, 13"x
17" panel background . 11.50
150 Gothic Italian caps l’/4" high, 1 6"x
22" panel background . 9.50
NEW EDIOLA OPTICAL SOUND & PICTURE
EDITORS, big projected image . 347.45
BARDWELL-McALISTER MULTIPLE FLOODLITES,
3 Quadruple heads holding 12 bulbs on
rolling tripod stand. Orig. Gov't cost
$180.00. Surplus . 29.50
BM QUADLITE Heads only $4.95; Stands only 19.95
B & H AUTOMATIC FOOT SPLICERS, 35mm
$595.00, combination 16/35mm . 695.00
TOBIS REFLEX 35mm STUDIO CAMERA w/Mit-
chell type finder,- pilot pins; motor; power-
pack; 6 fast lenses; tripod & cases.
$7500.00 value. Europe's equivalent to
Mitchell NC . . 3495.00
B & H 35mm CONTINUOUS SOUND PRINTER
Model D, complete, good as is . 1995.00
CINE SPECIAL 16mm CAMERA with PAR 4 lens
turret, 400' magazine and reflex finder,-
spring motor,- 3 lenses w/objectives and
case. $2250 value . 1195.00
MAURER 16mm CAMERA w/400' mag.; sync-
motor; viewfinder. Very clean . 2295 00
EASTMAN AUTOMATIC FILM WAXER, $1200
value. Rebuilt . 795 00
BRIDGAMATIC JR. 16mm FILM DEVELOPER,
Positive 600', Negative 300' per hr. Has
variable speed control. $1500 val. Re¬
conditioned . 1075.00
EASTMAN AIRGRAPH 16/35mm FILM DEVEL¬
OPING MACHINES. Fixes, washes and dries.
Stainless steel tank and drum, drive motor,
heater, blower, $1800 value. Gov’t Sur¬
plus. New . 295.00
Good used condition . . 225.00
REDUCED LOW PRICES ON 16MM REELS WITH CANS
12
or less
12-49
50 up
200'
$ .72
$ .60
$ .54
400'
.78
.70
.64
800'
2.84
2.70
1 .90
1200'
3.24
3.04
2.30
1600'
3.60
3.30
3.00
2000'
6.50
6.10
5.50
TRADES TAKEN
Phone PL 7-0440
Dept.
Cable:
SOSOUND
S.O.S. CINEMA SUPPLY CORPORATION
602 W.
52nd Street, New York
19.
FOR
SALE
NC MITCHELL camera (Serial 284), good condition,
now in daily use in Hollywood studio production,
for sale with following accessories; six coated
Baltar lenses — 25mm T/2.5, 30mm, T/2.5, 35mm
T/2.5, 40mm T/2.5, 50mm T/2.5, and 75mm
T/2.5; filter holder and case; erect image view¬
finder with built-in mattes; finder support bracket;
reducing finder adapter lens,- combination matte
box and sunshade; wide-angle matte box; variable
diffuser, standard size friction tilt-head; standard
size tripod; 110-V, AC/DC variable speed motor;
camera carrying case,- accessory case. BOX 1203
AMERICAN CINEMATOGRAPHER.
TURRET Eyemo, 25mm, 50mm, 150mm lenses, $525.00;
DeVry 35mm camera with 50mm lens, $75.00. 400'
Pathe 35mm camera, 50mm lens, $80.00. Eastman
Model A 16mm camera, 25mm lens, $85.00. All
perfect condition. HARRY MAMAS, 72 Chickering
Rd., Dedham, Mass.
BERNDT-MAURER 503-B 16mm registration pin, two
400-ft. magazines; 16, 25 , 50 Schneiders/ sync
motor,- DC motor; blimp; prismatic viewfinder; matte
box; carrying case. All in perfect condition. Best
offer. FRITZ ROLAND. 2732 Porter St. N W
Washington 8, D. C. KE. 7-1524
WILL SWAP pair of 35mm rear-shutter Simplex the¬
atre projectors complete with arc lamps, rectifiers,
sound-heads, amplifiers, etc., for Auricon "Pro”
16mm sound camera outfit. HARRY MAMAS, 72
Chickering Rd., Dedham, Mass.
NEW BOLEX 16mm camera stereo attachment and
projector lens, $250.00. Guaranteed perfect WM
C. FERREIRA, P. O. Box 111, Honolulu, T. H.
OUR 26TH YEAR— SUPPLYING EVERYTHING
PHOTOGRAPHIC & CINEMATIC
ART REEVES SENSITESTER Combination 35mm
and 16mm. Value $2000.00. Special . $ 595.00
B & H 25mm EYEMO "Q" CAMERA with
4" F2.9 Cinemat, 2" F2.3 Kinar, 35mm F2
Cooke lenses and viewfinder lenses, 2 — 400'
magazines, freehead tripod, shift-over
Alignment Gauge, 12V variable speed mo¬
tor, 2 carrying cases, excellent condition.... 1550.00
B&H 16mm FILMO CAMERA Model 70-DA
with 17mm F2.7 Wollensak, 1" FI .5 Dal-
meyer, 2" F2.8 Schneider, 3" F4 B & H
Teletar, and 6" F4.5 Telephoto Xenar
Lenses; 2 — 400' Magazines; Motor; Wells
Semi-Professional Tripod; Carrying Case.
value $1695.00. Special . . 1150.00
35mm B & H SINGLE SYSTEM SOUND CAM¬
ERA, Lenses: 40mm F2.7 Zeiss, 50mm F2
Cooke, 75mm F2 Cooke, 125mm F7.3 Cooke.
Modulite, Galvanometer, Amplifier, Motor,
Tachometer, 2 — 1000' Magazines, Tripod
with Freehand, quick release legs, carry¬
ing cases . 3500.00
LAGO INCANDESCENT LAMP 24" Reflector.
Five Kilowatts. Rolling Stand. Value
$246.00. Special . 110.00
MOLE RICHARDSON combination Microphone
and Lamp BOOM. Rolling Stand. Special.... 235.00
35mm SEPT MOVIE CAMERA and Case. Reg¬
istration Pins. 17 foot Magazine Capacity.... 77.50
ENLARGERS, excellent condit ion, Elwood, Auto
focus, lens and stand, 5x7 . 235.00
Size 8x10 . 400 ' 00
MOLE RICHARDSON 2000 Spot, rolling stand 110 00
B & H CAMERA CHECK PAWL. High speed
shuttle. List price, new, $1742.00. Good
condition . 195.00
35mm DUPLEX PRINTER. Adapted for sound
track, excellent for duping. Academy Aper¬
ture Speed 250 pictures per minute per
side. Two light change boards, 18 different
lights each side, 21 scenes. Motor 110
volts, perfect mechanical condition . 875.00
SCHOEN PRINTER, sound and silent, color,
B&W. Features: 16mm picture alone, 16mm
track alone, 16mm picture & sound to¬
gether; film capacity 1600 feet, 50' per
minute; 12 adjustable light charges,- AC-DC
conversion unit . 999 00
HOMRICH COMBINATION COPYING CAMERA
and animation table, stand, adaptable to
4x5, 5x7, 8x10 holders. Two adjustable
light stands with twin reflectors. 11x14,
16x20 copy frames. Built in lamp house,
good buy . 135.00
HOMRICH ELECTRONIC TIME CONTROL CON¬
TACT PRINTER, timer has full second and
split second setting. Handles 4x5, 5x7, 8x10
negatives. Adjustable masking and paper
guides. Internal dodging plate glass plate.
Four lamps, each controlled by separate
toggel switch. A real buy . 165 00
SPECIALIZING IN MOVIE AND TELEVISION SUP-
PLIES, TRIPODS, SYNCHRONIZERS, 16mm SOUND
CAMERAS, lights, lenses, mikes, booms, dollies,
motors, etc. New, used. Reasonable prices. Cash
for used equipment. Trades taken.
HOLLYWOOD CAMERA EXCHANGE, LTD.
1600 Cahuenga Boulevard Hollywood, California
BASS ... is headquarters for Arriflex 16; the new
Zoomar 16; Cine Specials, all models; Bell &
Howell 70-DL; Bolex H-16. Used Cine Special I, 1"
F; 1 .9 lens and carrying case $395.00. Used H-16
Bolex, 1" F: 1 .5, 0.7" F:2.5 W.A.. 3" F:3.5 $347.50:
Used Bell & Howell 70-DA, 1" F: 1 .9, 4" F: 4 . 5
$235.00. Used Bell & Howell 70-A, 1" F:3.5 and
case $52.50; Used 200' Chamber Cine Special
$295.00; Used 100' Chamber, Cine Special $117.50.
Best buys . . . Best trades always. BASS CAMERA
CO., Dept. AC, 129 W. Madison St., Chicago, 2, III.
WALL S. S. 35MM. SOUND CAMERA
COMPLETE with Galvanometer, amplifier, portable
power supply, 40-50-75 and 100mm. lenses, erect
imaqe viewfinder, complete front attachments, two
1000 ft. magazines. Balanced Tripod, necessary
carrying cases. Overhauled. Guaranteed perfect.
Reasonable.
CAMERA EQUIPMENT COMPANY
1600 Broadway New York 19, N. Y.
BERNDT-MAURER 16mm optical recorder, amplifier and'
power pack, $250.00. New Holmes 35mm projector,
$250.00. 16mm sound projectors, $150.00. RUSSELL
SCHLECHT, 1840 Morse Ave., Chicago 26, Illinois.
CINE SPECIAL with Par 4-lens turret; also Cine
Special II and full set Ektar lenses. Write BOX
385, Waukesha, Wisconsin.
ALL GUARANTEED LIKE NEW!
BOLEX PAN CINOR ZOOM LENS . $199.50
BOLEX STEREO OUTFIT COMPLETE . 269.50
BELL & HOWELL 79DL, F/1.9 . 239.50
CINE KODAK SPECIAL II, F/1.9 . 550.00
102MM F/2.7 CINE EKTANON CTD . 45.00
MAIL ORDERS FILLED PROMPTLY.
CAMERA CRAFT
18 E. 42nd Street New York 17, New York
BELL & HOWELL 70-H camera with accessories, in¬
cluding 5 lenses, 5 objective viewfinders, two
400-ft. magaines, synch, motor and 12-volt wild
motor with batteries. Cases for everything. Used
only two weeks. Sell only as complete outfit. Cost
new almost $2000. Will sell for $995.00. H. WIL¬
LIAMS, 8021 Radford Ave., North Hollywood,
Calif. Phone POplar 5-8475.
AUDIO AKELEY single system camera complete with
Akely sound head, Gyro tripod, 3 lenses, view
finder, Maurer mixing amplifier. Complete with
cables, power supply and W. E. microphone.
CAMERA EQUIPMENT CO., 1600 Broadway, New
York 19, N.Y. Cable: Cinequip.
PRECISION Maqnetic Heads for Engineers - Industry
Erase - Record - Playback
STANCIL-HOFFMAN CORPORATION
921 North Highland Avenue
Hollywood 38, California
WE BUY, SELL AND RENT PROFESSIONAL AND 16mm
EQUIPMENT, NEW AND USED. WE ARE DISTRIB¬
UTORS FOR ALL LEADING MANUFACTURERS. RUBY
CAMERA EXCHANGE, 729 Seventh Ave., New York
City. Established since 1910.
16MM PRO MODEL M.P. Presto-Splicer. Almost new;
in perfect condition. $300.00 cash. C. O. BAPTISTA,
Wheaton, III.
WANTED
WE ALWAYS PAY THE VERY TOP
WHETHER YOU CONSIGN, SELL OR SWAP
AT THE S.O.S. TRADING POST
Cameras, Dollies, Lenses, Lights,
Moviolas, Printers, Recorders,
Studio or Lab Equipment
Western Union-WUX New York,
Phone PL 7-0440
S.O.S. CINEMA SUPPLY CORPORATION
DeP»- ^ Cable: SOSOUND
602 W. 52nd Street New York 19, N. Y.
IMMEDIATE CASH PAYMENT FOR
CAMERAS AND EQUIPMENT
NEED EYEMOS (SINGLE LENS AND TURRET)
MITCHELLS, ARRIFLEX, DE BRIES, B&H STANDARDS
AND HI -SPEEDS, WALLS, AKELEYS, CINE SPECIALS
AURICONS, MAURERS, FILMOS. ALSO BALTARS
COOKES AND OTHER LENSES. SOUND STAGE
LABORATORY AND EDITING EQUIPMENT OF ALL
TYPES REQUIRED. PLEASE SHIP INSURED OR FOR¬
WARD DESCRIPTIONS AIRMAIL. IMMEDIATE PAY¬
MENT.
GORDON ENTERPRISES • 5362 N. Cahuenga
NORTH HOLLYWOOD, CALIFORNIA
WANTED TO BUY FOR CASH
CAMERAS AND ACCESSORIES
MITCHELL, B&H, EYEMO, DEBRIE, AKELEY ALSO
LABORATORY AND CUTTING ROOM EQUIPMENT
CAMERA EQUIPMENT COMPANY
1600 BROADWAY, NEW YORK CITY 19
CABLE: CINEQUIP
F & B PAYS MORE
FOR USED 16/35MM EQUIPMENT
WRITE — WIRE — PHONE
FOR OUR CASH OFFER
FLORMAN & BABB MU. 2-2928
70 W. 45TH ST. NEW YORK 36. N.Y.
WANTED
Mitchell — Akeley — B&H — Wall — Eyemo
Cameras — Lenses — Equipment
NATIONAL CINE EQUIPMENT, INC.
209 West 48th St. New York, N.Y.
( Continued, on Next Page)
American Cinematographer
February, 1955
109
Classified Ads
(Continued from Preceding Page)
WANTED
WANTED
PRODUCTION EQUIPMENT, LABORATORY EQUIPMENT,
EDITING EQUIPMENT, 16mm. and 35mm. FROM SIN¬
GLE ITEMS TO COMPLETE STUDIOS. TRADES AC¬
CEPTED.
THE CAMERA MART, INC.
1845 Broadway Circle 6-0930 New York 23, N.Y .
CAMERA & SOUND MEN
ASSIGNMENTS for Western Europe and Scandinavia.
Any type of film, 16mm/35mm. Portable sound
equipment. Experience in color and B&W. d. P.
RUEGG, 46 Hoehestreet, Zollikon, Switzerland.
CANADA! What do you need in Canada? Background
plates? TV film bridges? Establishing shots? For
any shooting in 35 or 16mm, colour or B&W,
write FELIX LAZARUS, York Film Productions, 344
Jarvis treet, Toronto, Ontario.
POSITIONS AVAILABLE
MOTION PICTURE CAMERAMAN — Studio in CFiicago-
land area producing TV and industrial films has
an unusually good opportunity for a young man,
experienced in camera, sound, lighting and editing.
Prefer a man who can shoot on location without
supervision and edit his own footage. State age,
experience and past earning. Box 1204, AMERI¬
CAN CINEMATOGRAPHER.
POSITIONS WANTED
NEGRO — Catholic, experienced cameraman, 35mm
newsreel, 16mm color productions, editing, light¬
ing, titling, also projectionist. MALCOLM MYERS,
3424 Clark Ave., St. Louis 3, Missouri.
LABORATORY & SOUND
SOUND RECORDING at a reasonable cost. High
Fidelity 16 or 35. Quality guaranteed. Complete
studio and laboratory services. Color printing and
lacquer coating. ESCAR MOTION PICTURE SERVICE,
INC., 7315 Carnegie Avenue, Cleveland 3, Ohio.
Phone Endicott 1 -2707.
To Classified Advertisers
Copy deadline for classified advertising is the
12th of month preceding publication date. Mail
copy and remittance to cover cost to
AMERICAN CINEMATOGRAPHER
1782 No. Oranae Dr. Hollywood 28, Calif.
To Sell
THE MOTION PICTURE INDUSTRY
YOU
NEED
AMERICAN
CINEMATOGRAPHER
AMERICAN CINEMATOGRAPHER reaches all
fields of 35mm and 16mm motion picture
production —
• Major Hollywood Studios
• Television Film Producers
• Industrial Film Makers
• Educational Film Producers
• Amateur Movie Makers
• Film Laboratories
• Foreign Film Producers (67 countries)
Why be satisfied with anything less?
Write For Advertising Rates
SO YOU WANT
( Continued
up lo the door of an old-style conic£
mud hogan with its brush shelter.
We were hardly out of the car before
“Grandma” moved her loom out into
the sunlight where we could make
movies and stills, and started weaving.
Into the picture wandered three Navajo
beauties in Sunday best — red velvet,
green velvet, and blue velvet dresses.
One carded wool, one spun wool, and
one watched the whole proceedings hold¬
ing her baby on its cradle board. When
we had shot enough pictures “Grandma
just as quietly stopped weaving. She
called to another Navajo girl who came
out and squatted down beside her, with
the loom in the background. Then
“Grandma” started the intricate pro¬
ceedings of dressing her hair in the age-
old Navajo style.
This was really getting Indian photo¬
graphs. The girls and Grandma posed
as many times as we requested and
seemed delighted with the whole ar¬
rangement. At last Goulding said it was
time to move on.
Only then did we find out about those
groceries. Goulding had carried them
into the Indians’ summer shelter. They
were in payment for the picture possi¬
bilities the Indians had provided. How
much better, I thought, for Harry Gould¬
ing to provide these people with things
which they need, rather than money
payment, which might be spent un¬
wisely. Then, too, the trading post is
at a distance. He saved them a day s
trip by wagon or horse.
What more could we have wished?
But our greatest thrill was yet to come.
We made stills and movies of the "Ear
of the Wind,” the “Honeymoon Hogan.’
and finally, high up on a mesa, the long
distant view of the “Totem Poles”.
Goulding told us we had to move on for
“they will be there soon.” We moved
on across the valley to an immense sand
dune over which we could not see. But
we could hear the tinkle of bells. V e
readied our cameras and then over the
sand dunes and down to the blue water
of the spring below came a herd of
sheep and goats — and there behind them
was our Indian beauty in red velvet, on
horseback, and our little lady in blue
scuffing the sand ahead of her as she
herded the flock. This was a photo¬
graphers’ delight. foot after foot of
movie film reeled off and shot after
shot we made in color. \\ hat a perfect
day it had been.
Back at Goulding’s that night at
dinner, we were as enthusiastic as the
people we had listened to the night be¬
fore, and who had made this same trip.
We had, in the space of eight short
TO SHOOT INDIANS
from Page 108)
hours, with no inconvenience and no
delay, obtained pictures it might have
taken days for us to get otherwise, if at
all.
Here is a summary of typical scenic
and action subject matter which you can
shoot on a Goulding-escorted trip, such
as I have just described: First there is
the fantastic “monuments” — the colorful
and gigantic monoliths jutting out of
the desert that makes excellent pictorial
subjects when combined with the right
lighting and cloud displays, which are
ever-present.
Navajo Indians on the road, afoot or
rattling along in wagons.
Navajo women on horseback, wearing
wide and colorful skirts.
Indian rug weaving. Usually family
groups in this activity.
Medicine man doing sand painting
this is specially posed, as sand painting
is normally done inside the Indian s
hogan.
Indians preparing food out of doors.
Indian sheep herders in action.
Demonstration of unique Indian hair¬
dressing.
So ... go prepared to get some real,
thrilling shots with your cameras and
color film. Use your exposure meter
carefully, because the sun is really
bright on the Arizona desert, often
necessitating using a lens opening from
one-half to a full stop less than you
would for normal filming elsewhere.
International Sports Film
Assembly to Judge Entries
The Eleventh International Assembly
of Sports Films will be held at Cortina
d'Ampezzo, in Rome Italy, under aus¬
pices of the Presidenza del Consiglio
del Ministri.
Purpose of the assembly is to encour¬
age and improve the use of film in the
realm of sport, and to show its useful¬
ness as a method of technical instruction,
or promotion of sports, of documenta¬
tion, of spreading standards of health
and hygiene.
The films must be sent to the Office
of the Organizing Committee of the
Assembly, Rome 56, Via Veneto, before
Februray 15. Entrant must assume all
shipping charges.
A jury composed of film technicians
and sports experts will award the follow¬
ing special prizes: best documentation
of international competitions, best the¬
atrical film having recognized sports
theme, best color film, and the film in
which slow motion and animated car¬
tons are employed most skillfully.
no
American Cinematographer
February, 1955
Filming the mileage misers
of the Mobilgas Economy Run
AAA and the weather
make it rough
“Do not stop for pictures,” said the
American Automobile Association offi¬
cial to the drivers. “I’ve also ordered the
movie producers not to interfere with
you in any way whatsoever.”
“Expect mist, fog, and drizzle . . . heat
and dust . . . and one king-size howling
blizzard,” said the weatherman. And his
forecast proved 100% accurate.
Then the starter’s gun sent the drivers
off through heavy traffic on frame-shat¬
tering, tortuous roads for the annual
Mobilgas Economy Run. For the third
year, the job of filming this famous an¬
nual event for the makers of Mobilgas
was assigned to Cate & McGlone of
Hollywood, who, in spite of the adverse
conditions, produced their typically su¬
perb movie. How? . . .
Assignments for the various shots were
carefully pre-determined for each of the
five camera crews. Then speeding station
wagons “leapfrogged” each other — with
cameramen manning their Cine-Kodak
Special Cameras.
Why were Cine-Kodak Specials chosen
for this rigorous assignment? Because,
as T. W. Cate points out, “We have
found it to be the best type of camera for
a job of this kind. It is rugged and ver¬
satile, and the extra magazines are insur¬
ance that we will always have film in the
camera when needed . . . Results have
been excellent, even during the extremely
difficult road and blizzard conditions we
encountered during this year’s run.”
The Cine-Kodak Special II Camera
This well-known camera has all the ver¬
satility you need for making the finest
16mm. movies — built right into a single,
compact unit. You can quickly and
easily make fades, dissolves, and mul¬
tiple exposures . . . change from one film
to another . . . shift from normal shoot¬
ing to telephoto lens . . . make speeded-
up or slow-motion movies, masked
shots, and many other cinematic effects.
No wonder the Cine-Kodak Special II
is a favorite among the world’s top cine¬
matographers like Cate & McGlone and
among expert amateur cameramen, too.
Ask your Kodak dealer, or mail us the
handy coupon, for a free 16-page book¬
let describing this versatile camera.
Cine-Kodak Special II Camera can be ob¬
tained with either a 25mm. //1.9 or //1.4
lens . . . and with either a 100-foot or 200-
foot interchangeable film chamber. Out¬
standingly precise and versatile, the Special
II is one of the world’s truly great 16mm.
motion-picture cameras. Prices start at $990.
r
L
Most Kodak dealers offer convenient terms. Price includes
Federal Tax and is subject to change without notice.
EASTMAN KODAK COMPANY
Dept. 8-V, Rochester 4, N. Y.
Please send me more information about the Cine-Kodak Special II Camera.
NAME.
POSITION-
COMPANY-
STREET _
CITY - STATE
(Zone)
color harmony
prints . . . .
You’ll also
have production harmony
every time you schedule
these Byron 16mm facilities:
script
art
titling
animation
editing
sound effects
recording
location photography
music library
sound stage
complete black-and-white
laboratory facilities
precision magnetic striping
Quality conscious? Byron color-correct" prints are
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with exacting fidelity — color prints in balance that
retain all their natural beauty with full depth and
clarity. Color-correct* is a Byron exclusive, the result
of many years of engineering research and development
by a pioneer laboratory — staffed by master craftsmen
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efficiency. Choose the leader in the 16mm color field.
Time important? Try our 8-liour service.
Studios and Laboratory
1226 Wisconsin Avenue, N.W., Washington 7, D.C. DUpont 7-1800
*Reg. U. S. Patent Office
PRACTICALLY EVERY 16MM FILM PRODUCER IN THE WESTERN HEMISPHERE IS A CLIENT OF BYRON
MARCH • 1955
This issue Special Articles On Television Film Production
25c
*3 00 YEARLY
VIDEO-FILM CAMERA— 1
CABLES TO MONITOR
M
ILM MONITOR
FOR TV COMMERCIALS THAT CLIENTS APPLAUD
)Ot on 1 Pont "SUPE l ■ ' 2#
p frit : i Du Pont Type €
When you film your TV commercials on
Du Pont “Superior” 2 — and print them
on Du Pont Type 824 — you 11 get footage
to satisfy the fussiest client. Here's why:
Du Pont “Superior” 2 is the all-purpose
negative film for both indoor and outdoor
sets. It gives you clean highlights and
plenty of shadow detail. “Superior” 2 is
fine-grained, yet fast enough to keep light¬
ing costs down. Its wide latitude guaran¬
tees you consistent results.
But a good negative is only part of the
story. You’ll need the fine release proper¬
ties of Type 824— a fine-grain, low-contrast
release stock— to get the best out of your
“Superior” 2 negatives. With Type 824,
you 11 turn out prints of perfect low-
density, low-gammaTV quality. Thatway,
your “Superior” 2 negative gets to the TV
screen in all its original tonal fullness.
Try this “Superior” 2 -Type 824 team
on your next TV commercials. Results will
put a satisfied smile on any client’s face—
and more of his work in your studio! E. I.
du Pont de Nemours & Co. (Inc.), Photo
Products Department, Wilmington 98,
Delaware. In Canada: Du Pont Company
of Canada Limited, Montreal.
DISTRICT OFFICES
ATLANTA 5, GA . 805 Peachtree Bldg.
BOSTON 10, MASS . 140 Federal Street
CHICAGO 18, ILL . 3289 N. California Ave.
CLEVELAND 14, O. 1033 Union Commerce Bldg.
DALLAS 7, TEXAS . 1628 Oak Lawn A.ve.
LOS ANGELES 38, CALIF.
7051 Santa Monica Blvd.
JEW YORK 11, N. Y.. . . .248 West 18th Street
HILADELPHIA 2, PA. . . . 225 South 15th Street
UG.U. S. PAT. OFF
BETTER THINGS FOR BETTER LIVING
. . . THROUGH CHEMISTRY
SPECIFY »« -o'" MOTION PICTURE
BRIGHTNESS-
FOOT CANDLES-
And Now... COLOR TEMPERATURE
Measured with ONE Instrument!
The New SPECTRA
DIRECT-READING BRIGHTNESS SPOT METER
Its telescopic sight indicates the
exact area being measured. This,
combined with the locking micro-
ammeter, makes possible rapid
hand held readings, or scanning
can be done using the tripod
mount.
Some of the many uses for the new SPECTRA BRIGHTNESS
SPOT METER in the motion picture and TV industries are:
1. Checking the uniformity of the blue backing for matte shots directly from the
camera position.
2. Checking the brightness of selected areas of the set, indoor or outdoor, to de¬
termine the brightness range of the scene.
3. Checking the color temperature of the various light sources to maintain uniform
color quality.
4. Reading footcandle output of individual light units without interference from
the other sources.
5. Measuring the uniformity of illumination and discoloration of projection screens
for any distance or angle.
6. Maintaining standard brightness AND COLOR TEMPERATURE of printer
lights.
WRITE for illustrated brochure giving complete details of these
special features, specifications of Spectra Brightness Spot Meter ,
and list of various attachments for special purposes.
PHOTO RESEARCH CORP.
KARL FREUND, President
W. ALAMEDA AVE., BURBANK, CALIF.
AMERICAN
whose
intelligent
demand
has
helped
■
us
0'®’
' -•% f-
create
■ 1 1 1 ■ i ■ i
|q|u|a|Hi|t|y
. . . our
sincere
gratitude
and
appreciation
CONSOLIDATED
FILM
INDUSTRIES
919 Seward St., Hollywood 38, Calif.
1740 Broadway, New York 19, N. Y.
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
PUBLICATION OF THE AMERICAN SOCIETY OF CINEMATOGRAPERS
Arthur E. Gavin, Editor
Marion Hutchins, Editorial Assistant Emery Huse, Technical Editor
Ediiorial Advisory Board: John Arnold, Arthur Edeson, Lee Garmes, Charles
Kosher. Leon Shamroy, Fred Gage, Glenn R. Kershner
Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Calif.
Telephone: Hollywood 7-2135
VOL. 36 MARCH • 1955 NO. 3
In This Issue
ARTICLES
“Oscar” Nominees . 139
The Video-Film Camera — By Al Simon . 140
Color-Television Film Shooting Practices
— By W m. B. Lodge and Howard A. Chinn - - - 142
Film Unit Operation in the Small TV Station
— By Tom Frazier Smith - - - 144
The Photography of “East of Eden”- — By Arthur Gavin - 149
Splicing Motion Picture Film With Tape — By W. R. Holm - - - 151
L\minated Magnetic Sound Tracks for 16mm Films — By Arthur Rescher - 154
The New “Auricon Pro-600” — By Leigh Allen - - 157
Editing an Unscripted Movie — By Harold Benson . 158
Camera Tricks — By Charles Loring ........ 160
FEATURES
Hollywood Bulletin Board . 118
What’s New in Equipment, Accessories, Services ----- 124
Booklets, Catalogs and Brochures . 128
Industry News . 132
Hollywood Studio Production . - - 136
ON THE COVER
ARIIST’S CONCEPTION of the simultaneous telecasting and flim recording
of a live television show, using the new video-film cameras described by Al
Simon, beginning on page 140, this issue. While cameras pictured do not
represent the true design of the Simon video-film camera, their use for simul¬
taneous pickup at three different locations on set, and the manner in which
the tri-monitor panel shows what each camera is recording is correctly
interpreted.
AMERICAN CINEM AXOGRAPHER, established 1920. is published monthly by the A. S.
C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. Entered as second class matter
c^DTT^’tixTl7, -thj P°stoffice ,at Lo* Angeles, Calif., under act of March 3, 1879. SUB-
SCKIrllONS: Lmted States and Canada, $3.00 per year; Foreign, including Pan-American
Union, $4.00 per year. Single copies, 25 cents; back numbers, 30 cents; foreign single
foplAS’ „35 «n!s: back nurr>hers 40 cents. Advertising rates on application. Copyright 1955
by A. S. C. Agency, Inc.
Illlilllllllllllllllllllllllllllllllllllllllli
The MITCHELL "16” is enthusiastically
acclaimed by leading commercial pro¬
ducers as the first professional camera to
bring theatre -like quality to the 16 mm
screen. Typically MITCHELL in design
and workmanship, it contains the same
proven features that made MITCHELL
cameras famous throughout the world.
The MITCHELL STUDIO MODEL"BNC”is
a truly silent camera for sound photography.
No blimp is required. Its smooth, positive
operation saves many costly hours of pro¬
duction time. Since the introduction of the
"BNC,” more and more major studios have
made it standard equipment.
/Pf/YcAe// Casnesa CORPORATION
666 WEST HARVARD STREET • GLENDALE 4, CALIFORNIA • CABLE ADDRESS: "MITCAMCO"
$
85% of the motion pictures shown in theatres throughout the world are filmed with a Mitchell
1SI
THE
HILLS
FILMATIC
16mm AUTOMATIC
HIGH-SPEED
FILM PROCESSORS
QUALITY CONTROL
NORMAL OR HIGH-SPEED
lIFlB
BUILT-IN REPLENISHING
HILLS
MFG. CO.
A and LIPPINCOTT STS.
PHILA. 34, PA.
P. O. BOX 281
LANSDALE, PA.
Hollywood
Bulletin Board
RUTTENBERG KAUFFMAN
Golden Globes, annual awards of the
Hollywood Foreign Correspondents As¬
sociation, were bestowed last month on
Joseph Ruttenberg, ASC, and Boris
Kauffman, ASC, for outstanding achieve¬
ment in motion picture photography for
1954.
Ruttenberg’ s award is for the color
photography of the M-G-M production,
“Brigadoon.” Kauffman’s award, ac¬
cepted in his absence by Charles Law-
ton, ASC, is for the black-and-white
photography of Columbia’s Pictures’
“On The Waterfront.” Same picture is
also a nominee for an Academy Award
for photography.
★
Joseph Ruttenberg, ASC, accompanied
by Mrs. Ruttenberg, sails for Europe on
March 8th for a two-months’ vacation on
the continent. Ruttenberg has just
signed a new term contract with M-G-M,
where he has been a director of photo¬
graphy for 20 years.
★
American Society of Cinema¬
tographers, last month, voted to mem¬
bership director of photography Gert
Anderson and, to associate membership,
Stacey O’Brien of General Film Labora¬
tories Corp., Hollywood.
J Gert Anderson photographs the
various TV film shows produced by
Screen Gems.
> ★
The ASC’s February monthly meeting
! featured a screening of two of the three
episodes of the “Davy Crockett” TV
films produced by Walt Disney and
photographed by Charles Boyle, ASC.
Object of screening was to show the
screen quality of prints made for tele-
: vision from Eastman Color negative, and
also to show the photographic technique
Boyle used in shooting the films espe¬
cially for the television medium.
Sam Leavitt, ASC, is latest Hollywood
cinematographer to switch from major
productions to television film produc¬
tion. Leavitt was signed last month to
direct the photography of “Halls of Ivy,”
starring Ronald Colman and Benita
Hume. TV film series is produced by
Television Programs of America, Inc.,
at Motion Picture Center, Hollywood.
★
Screen Producers Guild Intercollegiate
Gold medallion for the best film con¬
ceived and created in American colleges
and universities was awarded last month
to the University of California at Los
Angeles, for its 16mm production, “A
Time Out of War.”
Citations also went to: “One Victory,”
by University of Minnesota; “Books
Alive,” University of Miami ; and “Your
State Trooper,” University of Indiana.
The Intercollegiate film competition is
an annual event sponsored by the Guild.
★
Hal Rosson, ASC, was signed to direct
the photography of “Pete Kelly’s Blues,”
which Jack Webb is producing for
Warner Brothers. Initial filming began
February 25th in New Orleans.
★
Karl Freund, ASC, head of Photo Re¬
search Corp., and who also directs the
photography of “I
Miss Brooks,” and
“December Bride”
television films for
D e s i 1 u Prod uc-
t i o n s, celebrated
his 50 years in the
motion picture
business last month
simultaneously with
the Screen Direc¬
tor’s Guild annual
banquet. Freund, a member of the
Guild, hosted a party of fifty friends
and associates at a table at the Guild
banquet. Lucille Ball and Desi Arnaz
presented him with a solid gold currency
clip as a memento of the occasion.
Freund started his career in motion
pictures in Germany in 1905. He later
came to Hollywood and Metro-Goldwyn-
Mayer, where he was a director of photo¬
graphy for ten years. Here he photo¬
graphed the memorable “The Good
Earth,” for the photography of which he
won an Academy Award. end
Love Lucy,” “Our
FREUND
118
American Cinematographer
March, 1955
/
FINEST
Ignaz Jan Paderewski,
master of the concert piano
YOU’VE EVER HEARD
Top Quality..,
Just as it requires artistic feeling and a
touch of genius to master a musical
instrument, so the human element enters
into sound recording, telefilm has the
finest system ever devised for 16mm Sound
Recording . . . the result of the skill and
ability of the most highly trained soundmen
in the industry working with the
best equipment.
Complete Facilities...
Ever since they announced the
development of the first high-fidelity
sound recording for Kodachrome
over sixteen years ago, the sound
department of TELEFILM has continually
grown and expanded. Today, their
16mm sound studios are unequalled
anywhere, with the facilities to
handle any film recording job . . .
no matter how large or complicated.
Speed . . .
telefilm's sound studios have more
than kept pace with the ever increasing
demand for more speed in production.
They maintain a reputation for getting the
w ork out faster and better . . . and at
no increase in prices you can afford.
TELEFILM STUDIOS has one primary objective, to
help the 16mm producer make better motion pictures. Their
modern facilities for sound recording . . . optical or elec¬
tronic sound printing . . . color printing with “Life-Like
Color". . . . editing . . . titling .
animation . . . special
effects and the skill and know-how of the finest technicians
in the industry are at your command.
For complete information, visit Telefilm Studios
or write for descriptive literature.
4
estab. 1938
telephone: HOllywood 9-7205
TELEFILM STUDIOS INC.
6039 HOLLYWOOD BLVD.
HOLLYWOOD,
CALIF.
DEDICATED TO DETTED PERFORD1RDCE
COLLAPSIBLE
3-WHEEL DOLLY
For motion picture and
TV cameras. Sturdy
cast aluminum. For
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tripod point holders
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HYDROLLY’
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The advanced dolly for
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semi-professional tripods.
Si.-;.,
m
SYNCHROMASTER
SYNCHRONIZER
Our Exclusive Distributor
J^fEumwjclsi
Any combination of
16mm and/or 35mm
sprockets assembled
to specification. Cast
aluminum. Foot linear
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film contact. Sprocket
shaft slip lock, foot¬
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i
RERTRIiS
SALES - PQPAltS - SERVICE
LINS COATING
T STOP CALIBRATION
DESIGNING end MANUFACTURING
lens mounts & camera equipt.
for 16mm, 35mm, TV cameras.
BAUSCH & LOMB “BALTAB”
LENSES and others
for motion picture, TV camer¬
as. 15mm to 40" focal length.
COMPLETE LINE of 16mm, 35mm
cameras, dollies, synchronizers,
animation equipment, cutting room
and time lapse equipment.
BELL & HOWELL: Standard, Eye-
mos, Filmos. MITCHELL: Standard,
Hi-speed, BNC, NC, 16mm.
sp
Swivel seat. Adjustable leveling head.
Seat for assistant. In-line wheels for
track use. Steering wheel, rigid floor
locks. Hand pump or combination hand
and motor pump. Easily transported in a
station wagon. Fits through a 28" door.
£.<•
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m
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SENIOR & JUNIOR KITS
'A STUDIO IN A SUITCASE"
ColorTran re¬
places heavy
and expens¬
ive equip¬
ment.. . gives
you illumina-
tion up to
5000w. from
an ordinary 20 amp. house current. Equipped with
barndoors, diffuser slots for silks, snoots and other
accessories. Ideal for studio or location shots.
m
SEND F°^
PORTABLE m
MICROPHONE BOOM
• V;.; «Y'.\*CV.S •
For Studio or on Location. Light¬
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motion picture production. Sturdy
construction. Boom telescopes 7 to
17 ft. Rear handle for directional
mike control. A remote control per¬
mits 360° rotation of the microphone.
Operator can push the boom and oper¬
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simple to operate microphone rotation from floor. Microphone
cable hangs outside of boom, preventing cable from tangling
with the rotation mechanism. Ball bearing casters, rigid foot
locks, pneumatic drop check for lowering the boom, etc.
VARIABLE-
SPEED MOTOR
with TACHOMETER
for Cine Special or Maurer Cameras
115 V. Universal Motor — AC-DC
Separate Base for Cine Special.
Variable Speed 8-64 frames.
Adapter for Maurer Camera.
INTERCHANGEABLE MOTORS: 12
volt DC Variable Speed 8-64 frames.
115 Volt AC 60 Cycles, Synchron¬
ous Motor, Single Phase.
ANIMATION MOTORS: Cine Spe¬
cial, Maurer, Mitchell, B & H Motors,
for Bolex and Filmo Cameras.
NATIONAL CINE EQUIPMENT, Inc.
JOHN CLEMENS
ERWIN HARWOOD
209 W. 48th ST., NEW YORK 36, N.Y.-CIrcle 6-0348
NAIDICH
ONE OF A SERIES
Just as the combination
of a fine instrument
and a sensitive ear
assures quality in music . . .
so does the combination
of first rate equipment
and human know-how produce
QUALITY...
here at General Film Laboratories.
COMPLETE i6mm & 35MM SERVICES, INCLUDING
MAGNETIC STRIPING. ..ANY WIDTH. ..ANY POSITION.
i6mm color printing
GENERAL FILM LABORATORIES CORP.
1546 NO. ARGYLE HOLLYWOOD 28, CALIF. HO 9-6391
Each frame — each scene in the print must be perfectly matched to assure an out¬
standing film production. Leading producers , directors and cameramen know that Precision
processing guarantees that individual attention.
Skilled hands and exclusive Maurer-designed equipment are teamed to bring these perfect
results to each Precision print. Even more important , continuing research constantly
improves techniques that are already accepted as unequalled in the field.
In everything there is one best... in film processing , it's Precision,
P H
FILM
2 1 WEST
0 N
C .
v .
A division of J. A. Maurer, Inc.
Hollywood,
Announcing
"Auricon Pro-600"
with Critical Ground-Glass Focussing,
available on 3-Lens Turret Model.
"Auricon Pro-600"
with Single-Lens "C” Mount,
Tele-Finder Objective, plus
Standard Auricon Finder.
THE ALL NEW
“AURICON RR0-600”
for 16mm optical
sound-on-film
Write for free illustrated "Auricon Pro-600" literature
and price schedule.
HoHywo
Auricon
<0>
DT-BACH, INC.
6902 Romaine Street, Hollywood 38, California
MANUFACTURERS OF SOUND-ON-FILM
RECORDING EQUIPMENT SINCE 1931
WBgjBISgM
"Auricon Pro-600"
Turret Model with
"Zoom" type Lens
and Finder in use.
Sold with 30 day money-back guarantee, you must
be satisfied!
*
*
*
*
Self-blimped for completely quiet studio operation. The whisper-quiet film flow
of The "Auricon Pro-600" is silent proof of precision design. Your sound-recording
microphone never picks up "Pro-600" Camera noise!
600 ft. film Magazines with Auricon-Electromatic Take-up,
for 16 minutes of continuous "Talking-Picture" filming.
Synchronous Motor Drive for "Single-System" or
"Double-System" Recording.
$1, 165.00 list ... for Auricon Pro-600 "Double-System"
professional picture-camera with built-in features.
Also available at added cost is "Single-System"
equipment for Optical Sound-Track-On-Film, "C-mount"
Lenses, View-Finders, Film Magazines, 3-Lens Turret,
Critical Ground-Glass Focusing, Lens Sun-Shades,
Tele-Finders, etc. . .
"Auricon Pro-600"
features Push-Button "On-Off,"
with safety-interlocked
film-flow mechanism.
BROOKS
brooks
Photo
Every
Need!
16
nl /I 9 lens . 170.00
16mm Xenon / . 200.00
25mm Xenon A- .
75mm Xenon f/2
A0RtCON-C»NE
A VOICE
in0 n. mag. camera
100 5695.00
He" . . 575.00 d
Used . New U
Wicon-PJO. 200 «. “»6, ,3,0.00 *«5°C
^ r,o.
*• caSOther"Model ^^JportaWe.-^®®**®®
MftGHMXNC Model
5|
COUORTRAN SPOT KIT 3 spotlights with
diffusion tor tn
LENSES:
„ m f/3 5 lens . 149.93
K»\ar 150m™ 6 . . ‘ 239.95
349.50
600.00
210.00
295.00
395.00
w|M3r « V/5« WM-
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Astro 300mm t/3.5. • D|sp|ay of
Thc WeSt and Photo Equipment
Cameras and - -
Store Hours 9 a.m. to 6 p.m .
Mondays 9 a.m. fo 9 p.m.
BROOKS Cameras
45 KEARNY AT MAIDEN LANE
SAN FRANCISCO, CALIFORNIA
PHONE EXbrook 2-7348
. . . in equipment, accessories, service
New Magnasync Recorder
Magnasync Mfg. Co., Ltd., North Hol¬
lywood, Calif., announces its new X-400
synchronous 16mm magnetic film re¬
corder and reproducing channel. De¬
signed especially to meet needs of the
independent producer working on tight
budgets, it provides a simple interlock
with camera or projector. List price is
$895.00.
Synchro- View-Lite
The Camera Mart, Inc., 1845 Bdwy.,
N. Y. City, offers a practical modifica¬
tion for 35mm Moviola synchronizers
consisting of a solid insert with built-in
lighting unit to facilitate marking i7y2-
mm and 35mm film. Descriptive litera¬
ture is available.
16mm Color Reduction Prints
Houston Color Film Laboratories, 230
W. Olive, Burbank, Calif., now offer
printing on 16mm color positive dupli¬
cating film by direct reduction from
35mm Ansco or Eastman Color original
or dupe negatives. Further data and
prices are available on request.
Single-Lens Camera
Fred Parrish. 10851 Fairbanks Way,
Culver City, offers a low-priced silent
16mm camera designed especially for
use in producing sound films with the
new, economy-priced 16mm magnetic
film recorders. Camera, which is a con¬
version of the Cine- Voice camera, takes
standard Mitchell 400-ft. magazines, af¬
fording long runs in the production of
films for television. Basic price is $795,
which does not include lens, magazine or
finder. Literature is available.
New F/0.95 Lens for 16mm Cameras
Said to be the fastest lens in the
world, a new 1-inch Nominar lens in C
mount, rated at f/0.95 is offered by Flor-
man & Babb, 70 West 45th St., N. Y.
City. Lens is fully color corrected, has
click stops, engraved depth of field scale,
and lists for $165.00 plus tax.
124
American Cinematographer
March, 1955
'Moul/ovi iWeai/e.M
CONTINUOUS
CONTACT
PRINTERS
For 1 6mm Black & White
or Color Film
are faster , easier
with these new . . .
Now it is far easier to get the very most from
every negative . . . better definition— better tonal
yahies— better color— better balance . . . with the
new Houston Fearless Continuous Contact
Printers.
These entirely new, completely self-contained,
compact units are the result of many years engi¬
neering and development, designed to produce
consistently high quality prints with a minimum
of manual operation.
They are precision built to give years of depend¬
able service. Write today for prices and complete
information.
HOUSTON
1
► Correct light value, pre-set for each
scene, changes automatically.
► Automatic scene-to-scene color cor¬
rection filters change simultaneously
with light change.
► Extremely narrow exposing aperture
produces intense printing light, and
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► Three-way slide-type aperture easily
adjusted to print picture, sound or
composite. Separate edge - printing
light.
► Torque motor-driven take-ups re¬
quire no belts, clutches or adjust¬
ments.
► Entirely self-contained, compact and
light. Takes minimum space.
► Completely assembled, ready to plug
in and operate.
► Precision made of all non-corrosive
metals.
1 1 809 W. OLYMPIC BLVD., LOS ANGELES 64, CALIF. . BRadshaw 2-4331
620 FIFTH AVE., NEW YORK 20, N. Y. . Circle 7-2976
DIVISION - COLOR CORPORATION OF AMERICA
, ■ .
Single-lens 400-foot camera. 400-foo» camera with Pan Cinor lens.
Single-lens 16mm Camera For
Use With 16mm Magnetic
Here is the ideal companion camera for economy production of
sound motion pictures, using the new, popular 16mm synchronous
magnetic film recorders.
The camera, a conversion of the popular Cine- Voice 16mm sound
camera, takes 400-foot magazines, has positive synchronous motor
drive and is ideally suited for use with any 60-cycle synchronous
magnetic tape or optical sound recorder.
The single-lens, silent, 400-ft. camera (pictured above at left)
cannot be converted to take larger film magazines.
Write for data and prices on complete camera equipped
icith Pan Cinor zoom lens, 3-lens turret and zoom finder.
Recorders . . .
*795
Price does not
include lens,
magazine, or
finder.
We can convert your present Cine-Voice cam¬
era to take standard Mitchell 400-foot or 1200-
foot film magazines, thus greatly expanding its
range of usefulness. Also available is a sturdy
carrying case especially designed and con¬
structed to accommodate your converted camera
plus two magazines and necessary accessories.
Write for literature and prices.
FRED A. PARRISH
Cine-Voice Conversion, using 400 or
1200-foot magazines.
10851 Fairbanks Way • Culver City, Calif. • Phone: VErmont 8-6449.
Special carrying case for conversion at left.
'' ■ r ; ^ ■ * * r4 ■ ■■ ■■
k 1
mm; no me
STNCHtQNOUS
j HIM IKOIDH
NEW!
MAGM ASYIMC X-400
ECORDERS
Fig. 1
CASES CAN BE SEPARATED AS SHOWN FOR “CONSOLE” MODEL
The X-400 is a complete synchronous
1 6mm Magnetic film recording and
reproducing channel, professional in
every detail. This is the answer for
the independent producer whose
budget has prevented him from taking
advantage of sprocketed double sys¬
tem production. The X-400 is de¬
signed around the basic "Synkinetic"
motion principle that through the
years has given meaning to the
Magna sync pledge — Qua I ity- Economy -
Integrity!
Fig. 2
SIMPLE INTERLOCK WITH
CAMERA OR PROJECTOR
The X-400 may be operated in either of the
positions illustrated in Figures 1 and 3. Posi¬
tive projector or camera interlock can be made
with the simple flexible-cable gearbox attach¬
ment shown above. Extended armature shaft
of the synchronous drive motor is accessible
through opening in case. This shaft also serves
as a convenient "framing knob."
Fig. 4
COMPACT-PORTABLE
CASE IS ASSEMBLED
AS SHOWN
“2-IN- 1 ” UNITIZED CONSTRUCTION
SHOWING MECHANICAL UNIT
STACKED ON AMPLIFIER
The X-400 Recorder was designed originally for
the export market where extreme portability,
professional quality and "dollar exchange"
economy is mandatory. The amazing perform¬
ance of this machine has prompted us to make
it available to American producers as well.
Considering the unbelievable price of this equip¬
ment, we are emphasizing the fact that the
specifications are unconditionally guaranteed!
SPECIFICATIONS:
FREQUENCY RESPONSE: 50-8000 cps. ± 2 db. FLUTTER AND WOW: 0.2% maximum overall. DISTORTION: Less than 2% total harmonic.
SIGNAL-TO-NOISE RATIO: Greater than 50 db. DIALOGUE EQUALIZATION: Switch for bass roll off from 300 cps to — 10 db. at 100 cps.
INPUTS: 1. High gain (100 db] microphone channel. (Strapped for 50 ohms standard. Can easily be changed to 250 ohms or 600 ohms).
Cannon X-L connector. 2. Hi Impedence input.
Producer Net Price $895.00
F.O.B. NO. HOLLYWOOD, CALIF. EFFECTIVE JAN. 1, 1955. SUBJECT TO CHANGE WITHOUT NOTICE.
DEALERS
NEW YORK — Camera Equipment Co., 1600 Broadway, New York
19. JUdson 6-1420. Cable Address CINEQUIP.
CHICAGO — Zenith Cinema Service, Inc., 3252 Foster Ave.,
Chicago 25, III. IRving 8-2104.
SAN FRANCISCO — Brooks Camera Co., 45 Kearney St., San
Francisco, Calif. EXbrook 2-7348.
CANADA— Alex L. Clark, Ltd., 3745 Bloor St., Toronto 18,
Ontario. BEImon.' 1-3303.
tni§
PORTABLE
FILM RECOROERS
AMERICA'S LEADING MANUFACTURER OF MAGNETIC FILM RECORDING AND REPRODUCING DEVICES
J
MICROPHONE MIXERS
EQUIPMENT
Cinemascope
REPRODUCERS
3-CHANNEL
REPRODUCERS
MULTI CHANNEL
INTERLOCKED DUBBERS
STUDIO OUBBERS
and RECORDERS
QUALITY AMPLIFIERS for
MAGNETIC RECORDING and REPRODUCTION
MAGNASYNC MANUFACTURING CO., LTD.* 5521 SATSUMA AVE., NORTH HOLLYWOOD, CALIF. • POplar 6-1692
for color it's
0 Now
Celebrating
our 25th
ANNIVERSARY
Negative Developing
First Print Department
Ultra Violet and
Flash Patch Printing
16 mm and 35mm
Release Printing
Title Department
45 Cutting and
Editing Rooms
MOVIELAB FILM LABORATORIES, INC.
SI 9 West 54th Street, New York 19, N. Y JUdson 6-0360
CATALOGS & BROCHURES
Equipment News
“Camera Talk” is breezy, informative
little publication now being published by
Camera Equipment Co., 1600 Broadway,
New York 19, N. Y. Edited especially
for all who are interested in professional
or amateur cinematography, publication
will be sent free to anyone in industry
making request.
★
Projection Lamp Guide
The Photolamp Div. of Sylvania Elec¬
tric Products, Inc., 2936 E. 46th St.,
Los Angeles 58, Calif., announces avail¬
ability of company’s latest Projection
Lamp Buying Guide. It contains exten¬
sive technical data regarding every type
incandescent projection lamp, plus
prices, etc.
★
Table Top Movies
Owners of 8mm and 16mm cameras
will find interest in a new booklet,
“Home Movies the New Table-top YVay.
offered by the Kalart Co., Plainville,
Conn. Booklet introduces new way to
enjoy home movies by showing them on
the Craig Projector-Editor.
★
Kodascope Projectors
A pamphlet is now available from
Eastman Kodak Co., Rochester, N. Y.
describing in detail all of the new Koda¬
scope Pageant series of 1 6mm sound
projectors, and their many possible uses
under varying conditions of audio-visual
operation.
★
Camera Lighting Unit
A comprehensive illustrated 8-page
brochure describing the many Mayfair
portable lighting units marketed for use
with cine cameras is now available free
from Mayfair Mfg. Co., 89-93 Grand
St., Brooklyn 11, N. Y. Featured is des¬
cription of company’s new, exclusive
pushbutton control for their Foldomatic
lighting units.
THE LITERATURE described above
contains a wealth of valuable data
for the cinematographer and others
in the film industry. Unless other¬
wise ind:cated, copies are free. Re¬
quests should be addressed direct¬
ly to the company named — not to
American Cinematographer.
— EDITOR.
128
e
American Cinematographer
March, 1955
HERES 80 why™
F & B SPLIT REELS
ARE BETTER FOR YOUR
FILM!
1. NO REWINDING needed when
projecting • — measuring - — edit¬
ing • — synchronizing - — inspect¬
ing — cleaning.
2. STORE FILM ON CORES — but
perform all above functions in¬
stantaneously simply by oper¬
ating between split reels.
3. REMEMBER — with titewinds, you
can only rewind film off reels
onto cores — or vice versa and
that’s all. You still must rewind
and rewind.
4-79 For the time, trouble, labor,
space, scratches, abrasions,
dirt, aggravation and money
you will save by using F&B
SPLIT REELS.
ROCK STEADY • VELVET SMOOTH
— FOR ALL
CAMERAS
TRIPOD
A BRAND-NEW, MODERN TRIPOD . . . precision
engineered and designed, ruggedly constructed
for long and satisfactory service.
QUOTES FROM PRO-CINE USERS —
”... Finest precision workmanship”
”... Best in its class” "... Great"
“ . . . Beautiful smooth movement”
“ . . . Perfect with Auricon camera.”
— SPECIAL FEATURES —
★ SUPER-SMOOTH, fluid friction pan and tilt
head.
if TELESCOPING, two position, offset panhandle,
for adjustability to your length requirements,
left or right hand use; offset for greatest com¬
fort and convenience.
if KNURLED camera-tightening knob, externally
operated by angle gears for fumble-free, maxi¬
mum tightening.
if PRECISION ENGINEERED positive pan & tilt
locks for utmost in rigidity and safety.
if SUPERB, SEASONED, solid hardwood legs, fin¬
ished for smooth, non-sticking telescoping ac¬
tion.
if REMOVABLE friction head for easy mounting
on baby tripod or hi-hat.
★ SPRING-BALANCED HEAD, adjusted to your
camera, available at extra cost.
STANDARD MODEL FOR ALL CAMERAS
NARROW PLATE MODEL FOR EK SPECIAL
WIDE PLATE MODEL FOR MAURER
HEIGHT: 41" to 75" . . . 360° pan; 90° tilt.
FINEST WORKMANSHIP AND MATERIALS
5 YEAR UNCONDITIONAL GUARANTEE . . .
Available $135.00
From Your Dealer Made in
or Write U.S.A.
THIS MONTH'S
SPECIALS
100 Eyemo motors — 12 volt — 8 to 48
fps — Surplus — as is — guaranteed to be
in good working order or your money
PROFESSIONAL RESULTS
NOW POSSIBLE
WITH YOUR
CINEVOICE CAMERA
80. Don't junk F&B SPLIT REELS. We'll
gladly refund your money if
you're not 100% satisfied.
400 ft. split reel — 16mm $4.50
800 ft. split reel — 16mm.... 6.00
1200 ft. split reel — 16mm.... 7.50
1600 ft. split reel — 16mm.... 9.00
(Professional & Educational Discounts)
SORRY — No titewinds will be
accepted in trade!
FACTS ABOUT F&B
• F&B Cannot be Undersold F&B prices are
always the lowest in the industry. Maximum dis¬
counts cheerfully granted whenever possible.
refunded. Only — $49.50 each.
16mm Leader — fresh gray stock — 1000
ft. $14.50.
9.5mm F2.2 Angenieux wide angle lens
for 16mm in "C” mount — new — $89.95.
Film Timer Stopwatches — $13.95.
Plastic storage batteries — ER-6-2B 2 volt
—New — $4.95.
35mm sync, electric ftg. ctrs. $35.00.
Arriflex 35mm 200 ft. magazines,
$47.50.
Three wheel dolly — seat — case — Reg.
$300 — $167.50.
BAIA 16mm Editor — head only — $28.50.
Shoot Complete
1 5 Minute
Programs
600 FOOT
MAGAZINE
CONVERSION
FOR 1 6mm
AURICON
CINEVOICE
CAMERA
At Low Cost
Write
F&B USED EQUIPMENT
Always in stock . . . THOUSANDS OF ITEMS
. . cameras, projectors, lenses, accessories,
rewinds, splicers, synchronizers, editing, light¬
ing and laboratory equipment . . . ALL AT
REASONABLE PRICES. We are always glad to
quote lowest possible prices for specific items.
for Brochure
F&B carries a Complete Stock . . . Everything in
new and used equipment for production, projection,
processing, recording, editing, distribution, etc. F&B
is agent for ah major manufacturers.
F&B offers an Ironclad Guarantee . . . Nothing
sold "as is" Every item sold carries a 100%
money back guarantee.
F&B wants your Account . . . Your credit is good
at F&B. You will receive top service, courtesy and
reliability when you deal with F&B.
FLORMAN & BABB
70 West 45th Street, New York 19, N. Y.
Phone: Murray Hill 2-2928
Cable Address - FLORBABB, N.Y.
Magnetic ^ / laminate.
MAGNETIC
LAMINATE
SOUND TRACK
NOW YOU CAN RECORD
DIRECT TO YOUR PRINT!
for High Quality REPRODUCTION
SCOTCH TRACK
RRAND
The only low cost
magnetic process with
High Quality Reproduction —
(10 to 12 decibel higher gain).
Has uniform quality — The magnetic track is uniform
and precise in thickness, placement and width — micrometer controlled !
It’s different! — A non-liquid process, coated by Minnesota Mining, lami¬
nated by Capital to your film absolutely flat and smooth.
No crowning, no spreading, no crinkling or cracking.
Gives you a choice —
16mm or 8mm striping
30, 50, or 100 mil track width
placement on the base or emulsion side of the film.
CAPITAL'S NEWEST ADDITION
TO ITS LONG UST
OF QUALITY SERVICES
FOR THE CREATIVE PRODUCER
Fast, Dependable Delivery in Days - Not Weeks !
Write or Call Today for Details
APITAL I
^ Scotch Track Brand
Magnetic Laminate and
the accompanying proc¬
ess are the registered
and copyrighted brand
names of the 3M Com-
FILM LABORATORIES, INC.
Formerly Mcdeary-Smith Laboratories , Incorporated
1905 Fairview Ave., N.E., Washington 2, D.C. • Telephone Lawrence 6-4634
Editing IProotlllngt Printing
• RCA Sound Recording. Capital Film Studio*
1
■■■ '
f«M|
Manufacturers and
Distributors of:
Bloop Punches
Cans, Film Strip
Editing Tables
Film Bins
Film Racks
Flanges
Film Editing Gloves
Leader Stock, 16 & 35 mm
Measuring Machines
Plastic Cores, 16 & 35 mm
Reels, 16 & 35 mm
Reels, Non-Magnetic
Split Reels
Rewinds
Sound Readers
Splicers
Storage Cabinets
Vault Cans
Scotch Tape
Cloth Tape
Sound Recording Tapes
r\
HOLLYWOOD
FILM COMPANY
■ft*.
precision film editing equipment
956 NO. SEWARD ST.
HOLLYWOOD 38, CALIF
HO-23284
= New 35 mm Model 2A =
With 180° Shutter EE
1 A TRULY GRIM, |
| CAMERA 1
= for TV, Newsreel
= and commercial
For tough and trying assign
ments, ARRIFLEX 35 is in a —
— class by itself. Reflex focusing ^
= through photographing lens ~
EE while camera is operating —
== this is just one outstanding ~
— ARRIFLEX feature. ^
— Equipped with bright, right- ==
~ side-up image finder, 6V2 x EE
— magnification. Solves all par- =
EE allax problems. 3 lens turret. ==
— Variable speed motor built EE
EE into handle operates from ==
~ lightweight battery. Tachom- -EE
= eter registering from 0 to 50 =
= frames per second. Compact, EE
lightweight for either tripod EE
E= or hand-held filming. Takes =
200' or 400' magazine. Write EE
— - for free folder. —
— Blimp now available. —
— 1 6 mm ARRIFLEX also available."
Dr. Herbert T. Kalmus, right, receives
Foreign Press award from Merian C.
Cooper.
Dr. Herbert T. Kalmus, president and
general manager of Technicolor Motion
Picture Corp., received the Pioneer
Award in Cinematography of the For-
! eign Press Association at a ceremony
held last month in Los Angeles.
In making the award to Dr. Kalmus,
the Foreign Press Association broke a
12-year old tradition of honoring only
actual film makers with the Pioneer
Award. This is the first time a figure
connected with technical advances in the
motion picture industry has been so
honored.
Merian C. Cooper, who presented the
award to Dr. Kalmus, pointed out that
Technicolor, in bringing color to the
screen, changed and widened the possi¬
bilities of movie making in the same
manner that sound and wide screen pro¬
cedures changed them.
★
Byron Roundabush, president of Byron,
Inc., Washington, D. C., has been elected
a special member of the Edison Pioneers.
Organization was originally founded by
persons directly associated with Thomas
Edison and his work.
Mr. Roundabush was recently reelect¬
ed secretary of the Association of Cine¬
ma Laboratories, and also convention
vice president of the SMPTE.
★
DuPont’s Photo Products Department
opened its new air-conditioned office
building and photographic warehouse in
Dallas, Texas last month.
Located at 1628 Oak Lawn Avenue,
the 70 by 106 foot building contains
more than 7,000 square feet of floor
space.
Offices are occupied by Paul H. Smith,
Dallas district manager; W. F. Lock-
wood. sales supervisor; and C. S. Mow¬
bray, technical representative.
A new film storage building capable of
accommodating sixty million feet of mo¬
tion picture film under electrically-con¬
trolled temperature and humidity condi¬
tions, has been completed by Consoli¬
dated Film Industries at Fort Lee, New
Jersey.
Said to be the only storage center
in the country designed especially for
long-term scientific film storage and
protection, CFI’s mammoth structure
maintains constant 72 degrees tempera¬
ture and 50 per-cent relative humidity
to prevent shrinkage, curl, decomposi¬
tion or fading.
Among the modern safety procedures
is a method of inspecting all film under
ultra-violet light, to guarantee that no
nitrate film enters the premises.
★
E. B. “Mike” McGreal has been named
President of the Flouston Color Film
Laboratories, Inc., of Burbank, proces-
osrs of color motion picture film.
McGreal has
been associated
with the motion
picture industry
for 26 years, join¬
ing M-G-M in
1929. In 1934 he
went with War¬
ner Brothers and
in the following
1 9 years headed
the camera department, still lab, special
effects, miniatures and painting depart¬
ments. He was subsequently made execu¬
tive director of all photographic depart¬
ments at Warners. McGreal thus brings
to Houston Color Labs a valuable back¬
ground of experience and knowledge of
the industry. Details for the expansion of
the laboratory are to be announced
shortly.
★
Two patented inventions held by Gas-
parcolor, Inc., have been licensed to
Eastman Kodak Company. The inven¬
tions have to do with the arrangement
and color sensitivity of emulsion layers
in a multilayer color photographic film.
The rights granted Eastman are said
to be non-exclusive, and Gasparcolor will
license other film manufacturers who
wish to use either of the two patents.
★
Twentieth Century-Fox is revamping
sound stages on its Western Avenue lot
in preparation for company’s entry into
production of films for television.
132
American Cinematographer
March, 1955
• • • •
The World’s Outstar
Because it has so much more to offer, the Arriflex
16 has become the most wanted 16mm camera in
the field. The demand has been greater than the
supply from the very beginning . . . and for the best
reasons in the world:
• The Arriflex 16 is the only 16mm camera with a
mirror- reflex shutter for continuous thru-the-lens
focusing and viewing— even during actual shooting.
There is no beam-splitting and no light loss; no
parallax and no need for extra finders.
• It is equipped with registration pin assuring abso¬
lute frame registration and rock-steady pictures.
• A built-in electric motor drive permits uninter¬
rupted filming — no need to stop and wind a spring.
• By employing a diverging turret, 3 lenses from
For complete information concerning Arriflex 16mm and
35mm cameras, and Arri film lab equipment, write to.
KLING PHOTO CORP. • 235 Fourth Ave., New York
ding 16mm Camera
extreme wide-angle to 300mm telephoto can be
simultaneously mounted— without physical or optical
interference.
There are a host of other features that equip the
Arriflex 16 for every possible type of professional
filming: Footage and Frame Counters — Tachometer
— Detachable Matte Box — 400 ft. Accessory Maga¬
zine, etc. Its extreme compactness and light weight
(only 7 V 2 lbs. with Matte Box) makes it also ideally
suited for hand-held shooting.
The quality, performance, and exclusive features of
the Arriflex 16 have created a great demand for
this camera. To assure earliest possible delivery, we
strongly urge you to place your order now. And
even though there is some delay, remember . . . the
Arriflex 1 6 is worth waiting for.
, N. Y. • 7303 Melrose Ave., Los Angeles 46, Calif.
-Timi " i
(WQU’SHW.rrst
KNOWN USE OF ELECTRIC
SET LIGHTING- BACKGROUND
PROJECTION AT THE PARIS OPERA
IN 1846. LIGHT FROM A
PRIMITIVE ARC-LAMP WAS
REFLECTED ON A SILK SCREEN
TO REPRESENT THE
RISING SUN.
STILL A VALUABLE ASSIST to special
EFFECTS, REALISM AND PRODUCTION ECONOMY, MODERN
BACKGROUND PROJECTION DEPENDS ON
THE BRILLIANCE AND TRUE COLOR-
BALANCE OF "NATIONAL"
ARC CARBONS.
THE NEW SCREEN SIZES AND
FILMING TECHNIQUES, "NATIONAL CARBONS
CONTINUETO AFFORD THE BROAD COVERAGE,
PENETRATION, BRILLIANCE AND SHARP SHADOWS
REQUIRED FOR TOP PRODUCTION VALUE.
THE “NATIONAL” CARBON ARC ... NOTHING BRIGHTER UNDER THE SUN
The term "National" is a registered trade-mark of Union Carbide and Carbon Corporation
NATIONAL CARBON COMPANY
A Division of Union Carbide and Carbon Corporation, 30 East 42nd Street, New York 17, New York
Sales Offices: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco
IN CANADA: Union Carbide Canada Limited, Toronto
tripod in
the world!
They’ve been standing on their heads,
trying to copy PROFESSIONAL JUNIOR
Tripod — but nobody can get around our
exclusive patented features.
Features which make PROFESSIONAL
JUNIOR tops in the motion picture,
TV and commercial film world. First
choice of professional cameramen.
First choice of our Armed Forces.
Is your work ‘‘dragging” for want
of an outstanding tripod? Get
PROFESSIONAL JUNIOR—
the price hasn't changed in
15 years. Get it today.
-MOST
PROFESSIONAL
JUNIOR
Professional Junior
■ EARED HEAD
interchangeable with
Friction Head on
same tripod.
New Professional Junior Adjustable wood
BABY TRIPOD
— for friction and geared Heads.
Has substantial shoe and spur.
Measures from floor to flange 25" extended —
17" collapsed.
(Jflm€RR G^uipmenT (6.
ONE CAMERA
16mm or 35mm
in 10 SECONDS!
L
Feature and television film productions for which members of the American Society of
Cinematographers were engaged as Directors of Photography during the past month.
Camerettewss
Reflex Motion Picture Camera
The perfect camera for the motion picture film
maker working in both 16mm or 35mm color
or black and white.
LOOK AT THESE ADVANTAGES—
• The same lenses, same motor drives, same
sound blimp and accessory equipment used
for both 16mm or 35mm — to convert simply
change the magazine.
• Precise rugged movement
• Reflex viewing
AMERICAN SOCIETY
OF CINEMATOGRAPHERS
Arthur Miller, President
Sol Halprin, First Vice-President
Joseph Ruttenberc, Second Vice-President
Alfred Gilks, Third Vice-President
Walter Strenge, Treasurer
Philip Tannura, Secretary
Robert de Grasse, Sergeant-At-Arms
•
FOUNDED January 8, 1919, The Ameri¬
can Society of Cinematographers is com¬
posed of the leading directors of photog¬
raphy in the Hollywood motion picture
studios. Its membership also includes non¬
resident cinematographers and cinematog¬
raphers in foreign lands. Membership is
by invitation only.
Russell Metty, “There’s Always Tomorrow.”
Carl Guthrie, “Francis In The Navy."
Wilfred Cline, “The Second Greatest Sex,”
(Technicolor; CinemaScope).
WARNER BROTHERS
Peverell Marley, “I Died A Thousand
Times.”
Peverell Marley, “Illegal.”
Harold Wellman, “The Animal World,”
(Technicolor) .
Ted McCord, “The Jagged Edge,” (Warner-
color; CinemaScope).
INDEPENDENT
Floyd Crosby, “The Brass Ring,” Challenge
Pictures, Inc.
Guy Roe, “The Lonesome Trail,” (Wide-
Screen), L & B Prodns.
Henry Sharp, “The Beast of Hollow Moun¬
tain,” (EastmanColor; CinemaScope), Nas-
sour Studios.
Lee Garmes, “The Deadly Peacemaker,” Sam
Goldwyn, Jr. Prodns.
• 200 degree adjustable shutter
• Divergent three lens turret
• Automatic film gate 400' magazines 16 or
35mm — the 16mm magazine will accom¬
modate daylight spools as well as standard
core load.
ALLIED ARTISTS
Harry Neumann, “Spy Chasers.”
Harry Neumann, “Lord of the Jungle.”
COLUMBIA
Burnett Guffey, “The Calico Pony,” (Tech¬
nicolor; CinemaScope.)
Burnett Guffey, “The Gentle Wolfhound.
• Light weight — only 14 pounds with 3
lenses, 400' magazine, and 6/8 volt motor.
Write for brochure
L_Damerette
patents coutant-mathot
Manufactured by Ets. Cine. Eclair, Paris
METRO-GOLDWYN-MAYER
Arthur Arling, “Love Me or Leave Me,”
(Color; CinemaScope).
Robert Planck, “The King’s Thief,” (East¬
man Color; CinemaScope).
Paul Vogel, “The Bar Sinister,” (Eastman
Color; CinemaScope).
PARAMOUNT
Ray June, “The Court Jester," (Technicolor;
VistaVision) .
William Daniels, “The Girl Rush,” (Techni¬
color; VistaVision).
Robert Burks, “The Vagabond King,” (Tech¬
nicolor; VistaVision).
Loyal Griggs and Wallace Kelley, “The
Ten Commandments,” (Technicolor; Vista¬
Vision).
Daniel Fapp, “Artists and Models,” (Tech¬
nicolor; VistaVision).
20TH CENTURY FOX
Milton Krasner, “How To Be Very, Very
Popular,” (Color; CinemaScope).
Charles G. Clarke, “Sir Walter Raleigh,”
(Color; CinemaScope).
Joseph MacDonald, “House of Bamboo,”
( Color ; CinemaScope) .
UNIVERSAL-INTERNATIONAL
Russell Metty, “All That Heaven Allows,”
(Technicolor) .
Harold Lipsetin, “The Private War of Major
Benson,” (Technicolor).
Maury Gertsman, “The Spoilers.”
| Irving Glassberg, “The Rawhide Years,”
I (Technicolor).
TELEVISION FILMS
Lucien Andriot, “Where Were You?” “It’s A
Great Life,” and “The Life of Riley.”
Joseph Biroc, “Dear Phoebe.”
William Bradford, “Gene Autry.”
Norbert Brodine, “The Loretta Young Show.”
George E. Clemens, “Schlitz Playhouse of
Stars.”
Edward Colman, “Dragnet.”
Robert DeGrasse, “Make Room For Daddy,"
and the “Ray Bolger Show.”
George Diskant, “Four Star Theatre.”
Karl Freund, “I Love Lucy,” December
Bride,” and “Our Miss Brooks.”
Fredrick Gately, “Mayor of the Town.
Sid Hickox, “Willy.”
Benjamin Kline, “Fireside Theatre.”
Sam Leavitt, “The Halls of Ivy.”
Jack Mackenzie, “Public Defender,” and
Passport To Danger.”
William C. Mellor, “Ozzie and Harriet.”
Virgil Miller, “You Bet Your Life.”
Hal Mohr, “The Bob Cummings Show,” and
“Life With Father.”
Nick Musuraca, “Lineup.”
Kenneth Peach, “Here Comes Donald.”
Robert Pittack, “The Lone Ranger,” and
“Private Secretary.”
William SiCKNER,-“The Whistler.”
Mack Stengler, “Life With Elizabeth,” “Flor-
ian Zabach Show,” and “It’s Fun To Reduce.”
Harold Stine, “Superman,” and “Korla Pan¬
dit Show.”
Alan Stensvold, “Andy’s Gang.”
Walter Strenge, “Waterfront,” “My Little
Margie.”
Philip Tannura, “The Burns and Allen
Show,” and “The Jack Benny Show.”
Stuart Thompson, “The Whistler.”
James Van Trees, “I Married Joan.”
Lester White, “Roy Rogers.”
136
American Cinematographer
March, 1955
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602 WEST 52nd ST., NEW YORK 19, N.Y.
Phone: PLaza 7-0440 Cable: S0S0UND
ROBERT BURKS, ASC
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GEORGE FOLSEY, ASC
“Executive Suite"
“7 Brides For 7 Brothers”
BORIS KAUFFMAN, ASC
“On The Waterfront"
"Oscar" Nominees
for the best cinematography of 1954
CHARLES LANG, JR., ASC
"Sabrina”
Nine directors of photography —
eight of them members of the
American Society of Cinematographers
— have been nominated for Academy
Awards for achievement in motion pic¬
ture photography for 1954.
For the first time in the history of
the Academy Awards, the nominations
in all categories were presented publicly
via nation-wide telecast on the evening
of February 12th. While technically, it
is the motion picture productions that
are nominated for awards in the vari¬
ous classifications, when it comes to the
presentation of the awards, these are
made to the artist or craftsman whose
individual contribution resulted in the
Academy nomination.
Thus, five black-and-white and five
color productions completed and re¬
leased during 1954 have been nominated
“For the best achievement in cinematog¬
raphy/' as prescribed by the Academy’s
voting procedure. The productions, and
the names of the directors of photog¬
raphy who filmed them are:
Black-And-White
“Country Girl.” (Paramount), John
F. Warren.
(Continued on Page 166)
JOHN SEITZ, ASC
"Rogue Cop”
LEFT — JOHN F. WARREN,
“Country Girl”
CENTER — WM. V. SKALL, ASC,
“The Silver Chalice”
RIGHT — LEON SHAMROY, ASC,
“The Egyptian”
American Cinematocrapher
March. 1955
139
evision
CINEMATOGRAPHY
THE FUNCTIONS of a television camera
and a film camera are combined in this
new video-film camera, which picks up
and transmits a television show at the
same time it records the show on film.
The Video-Film Camera
New dual-purpose camera
will simultaneously photograph
a show for live television
and record it on film.
By A L SIMON
Production Supervisor, McCadden Corp.
The wedding of electronics and film in a single, dual-purpose
video-film camera was inevitable.
During the shooting of my first television show on film in
May, 1951, I saw the advantages such a camera offered the
producer of TV films as well as television stations: the ability to
televise a show ‘‘live’ and at the same time record it on motion
picture film for delayed broadcast. Another advantage is that
the arrangement would make possible a practical electronic
viewfinder, enabling the cameraman and others to see the scene
exactly as it is being picked up by the camera lens. It would
also make possible for the first time the use of slave monitors
in the filming of shows with multiple cameras (such as “I Love
Lucy”) which would permit the show director to observe the
coverage of each camera from a remote position on the stage.
(See cover illustration. — Ed.)
Unaware of the complexities of optics or of the continuing
rapid advancement of electronics, I nevertheless ventured into
the designing and production of such a camera. Since that “day
of decision," the ensuing four years have been filled with many
anxious moments. Today, the video-film camera envisioned
above is a reality. Its first public demonstration was given re¬
cently before a most critical audience, the men who are eventu¬
ally to use it — members of the American Society of Cinemato¬
graphers.
The video-film camera, which is pictured on this page, is
capable of transmitting a live image via television, and at the
same time recording the same image on 35mm motion picture
film— both images identical in field because both are picked up
by one and the same lens.
It works this way: an image is picked up by the camera
by means of a regular photographic lens, which transmits it to
the film plane in the usual manner. Between the lens and the
h rn, a beam-splitter is interposed which causes a duplicate
image to be picked up by the vidicon tube of the electronic side
of the camera. The camera’ is actually two cameras in one: a
film camera and a complete TV camera.
Uniting the two types of cameras in a single unit made
possible the electronic viewfinder, with outlets for a number of
lemote monitors, which industry cameramen have long hoped
for. The electronic finder eliminates entirely the old parallax
problem because the image seen on the
finder screen is exactly that which is re¬
corded on the film and by the TV pickup
tube.
As the accompanying photos show, a
blimp, 18" x 21" x 21" houses the mo¬
tion picture camera, electronic compo¬
nents, viewfinder and vidicon pickup
camera. A cable extends to a master
monitor having a 10-inch screen. Addi¬
tional monitors may be connected at any
time. Swinging the various lenses into
place is accomplished as easily as with
television cameras.
Film loading requires only two steps:
opening cover of the blimp (to which is
attached the electronic finder tube) ex¬
poses the film magazines. By depressing
a catch, the electronic camera unit
swings out of the way, affording access
to the film movement, gate, main sprock¬
et and film-retaining rollers.
Since the development of this camera
was first announced, directors of photo¬
graphy and some of the operators in the
industry have contributed a number of
ideas for further enhancing its effective¬
ness, not only for television but in its
application to motion picture production
generally.
For example, when we originally set
up the multiple film camera operation
for photographing the “I Love Lucy”
show, our purpose was to utilize film
cameras in the same manner as live
television cameras were being employed
at that time — with the camera operators
and the grips instructed via intercom
phone system by the director. A draw¬
back to this system, however, is that the
director, usually located in a remote
booth on the stage, cannot see exactly
what each camera is recording. Using
our new dual cameras on a show of this
type, the director of the show as well as
the director of photography can see, on
their remote monitors, what each camera
is picking up. When errors occur, they
can be observed immediately as the ac¬
tion takes place instead of having to
wait until the dailies are printed.
A feature receiving serious considera¬
tion is the addition of a cueing device in
the camera so that when two or more
cameras are used in recording a show
like “I Love Lucy.” the various cameras
can be cut in and out, making it possible
to edit to some extent the production as
(Continued on Page 164)
THE AUTHOR, Al Simon, behind the video-film camera observing image on the elec¬
tronic viewfinder screen. Finder image, the TV picture, and the image reaching the
film are identical in field, as all three are picked up by one and the same camera lens.
REAR VIEW of camera showing
the electronic finder screen. Re¬
mote monitors afford convenient
checking of scene being photo¬
graphed by cameraman or the
production director.
LOOKING INSIDE the camera. Here, one unit of sec¬
tional door of blimp, which is raised, is shown support¬
ing the electronic finder tube. In lowered position it
comes to rest before the aperture on door at right.
Film magazine is readily accessible. Door section just
below magazine is lowered to give access to camera
mechanism for threading.
iSi&fciP I i m
Television
CINEMATOGRAPHY
Color-Television Film Shooting Practices
By WILLIAM B. LODGE and HOWARD A. CHINN
Engineering Department, CBS Television, Neiv York, N. Y.
THE FOLLOWING is the first comprehensive treatise published on the subject of
producing motion pictures in color for color television. Written from the standpoint
of the technical requirements of the telecaster, it was presented lor the authors y
Herbert W. Pangborn at the convention of the SMPTE in Los Angeles, Octobei ,
1954. It subsequently appeared in the December, 1954, issue of the SMPTE Journal.
Because of the subject’s importance to cinematographers everywhere, and in keeping
with its policy to bring readers the latest technical data on all the newest applica¬
tions of motion picture photography, American Cinematographer is repiinting t e
paper with permission of the authors and the SMPTE. Editor.
The skilled professional is well ac¬
quainted with the staging, lighting*
camera, film and sound recording tech¬
niques that result in successful color
motion pictures for direct screen pro¬
jection; however, relatively few have
had the opportunity to study in detail
the reproduction of film over a color-
television system. Accordingly, this pa¬
per has been prepared as a tentative
guide to the factors that should be
taken into consideration when shooting
motion-picture film for color-television
applications.
In approaching the problem of mak¬
ing motion pictures for color television,
it should be recognized from the outset
that the requirements of film for tele¬
vision differ appreciably from those of
film for theater projection. An ele¬
mentary but striking example of this is
the fact that for some time to come the
end result will be viewed in both color
and monochrome, depending upon the
kind of receiver in the viewer’s home.
Also, as experienced television film pro¬
ducers have learned, television film
should have a lower contrast range than
theatre film. For these reasons alone, if
the techniques used in shooting film for
the theater are followed without modi¬
fication, the resulting film is not likely
to be of optimum quality for television
use. On the other hand, if the require¬
ments of the television system are kept
in mind, motion pictures containing all
the artistry, creative expression and
novel effects that may he desired can
he produced.
As an aid to those responsible for the
production of color film for television,
this report contains tentative recom¬
mendations with regard to staging,
lighting, cameras, film and sound re¬
cording. In a field developing as fast
as color television, it would be unwise
to present these suggestions as final.
Nevertheless, they are based on consid¬
erable experience in both the film and
television field and. though further ex¬
perience will doubtless produce some
changes, they should be satisfactory in¬
terim guides to the filming methods of
the color medium.
Some producers of television films
have had considerable experience with
color. Others have worked entirely with
black-and-white stock. Since this hand¬
book of recommended practices is in¬
tended to help both groups, it is hoped
that the skilled professional will forgive
treatment of certain subjects that, to
him, are obvious.
The idiosyncrasies of current color-
television equipment require that certain
precautions be observed in staging prac¬
tices when making color motion pictures.
Further, as already indicated, staging
(and lighting) practices must be de¬
signed from the viewpoint of satisfactory
reproduction on both color and mono-
(Continued on Page 174)
PIONEER in shooting films in color for color television is Ziv Television Programs, Inc.,
Hollywood, with production of its video shows now 100% in color. In above photo, director
of photography Curt Fetters, using three dolly-mounted Mitchell cameras and Eastman Color
film, is shooting a scene for the Eddie Cantor Comedy Theatre,” newest Ziv TV film series.
142
American Cinematographer
March, 1955
RARE OPPORTUNITY
to buy 16mm and 35mm
FILM LABORATORY
EQUIPMENT
at far below cost!
Processors
Printers
Printing Control Meters
Light Changers
Film Racks, Rewind Tables, Reels,
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Projectors
Splicing Machines
Edge Numbering Machines
Film Perforators
Film Splitting Machines
Negative Cleaning Machines
Editing Tables
Film Storage Cabinets
Sensitometers
Spectrophotometers
Electrometers
• Densitometers
• Colorimeters
• Chemical Mixing and Storage
Eqpt.
• Water Filters, Softeners, Tanks,
etc.
• Refrigeration Eqpt.
• Compressors
• 16mm and 35mm Cameras
• Tripods, Heads, Lenses, Magazines
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• Office Eqpt.
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Send coupon below for complete
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Please send complete catalog of film laboratory
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COLOR CORP. OF AMERICA
2800 W. Olive Ave., Burbank, Calif.
Phone: Victoria 9-1126
Name _
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Tel evi s i o n
CINEMATOGRAPHY
FILMING a “commercial” in the studio of KGGM-TV, Albuquerque,
New Mexico. Tom Pillsbury, the station’s film unit photographer,
is behind the Parrish-converted 16mm Cine-Voice single-system
sound camera. Pillsbury made the camera dolly, as he did most
of the other equipment he uses for shooting, titling and processing
the station’s spot news and advertising films.
Film Unit Operation In The Small TV Station
By TOM FRAZIER SMITH
Photos by Thomas G. Pillsbury, KGGM-TV
IF I were asked to choose a symbol for
the television industry — its film units
in particular — it would he a medieval
execution scene in which the victim was
strung between two wild horses headed
in opposite directions. One horse would
be labeled “Production” and the other,
“Budget.” If you work in television,
you already know who the guy in the
middle is — the lone film unit operator
working on a “soda pop” budget and
using homemade equipment. You'll
find him in just about every small,
“local TV station throughout the
country.
No unit in an independent TV station
operation suffers more from the demands
of production quality and budget limi¬
tations than the photographic depart¬
ment. It is too often regarded as an un¬
welcome stepchild by management — so
much so. that many stations now have
dispensed with their film units entirely,
and farm out whatever photographic or
film work they have. There are a great
many stations, however, that believe a
film unit pays for itself through the
services it offers local sponsors in the
way of slides and motion pictures at
cost. In addition, a film unit can render
many important services to the station.
KGGM-TV at , Albuquerque, New
Mexico, is a typical small, independent
station. Here photographer-artist Tom
Pillsbury is a “jack-of-all-trades.” In¬
stead of costly motion picture equipment,
lights and other necessary accessories,
Pillsbury works mostly with equipment
which he built himself: a negative film
processor; slide copy stand; camera
dolly, and flood lights made of sheet
iron and soldered into shape. In a tiny
cubicle 7 by 14 feet in size, Pillsbury
does everything from art work for slides
and film titles to running out a fast newrs
144
American Cinematographer
March, 1955
COMBINATION titler and copying stand built by
Pillsbury. Here titles and slides are photographed.
Note mask which shows correct TV screen area.
EDITING CORNER where KGGM-TV's cameraman edits and titles the
station’s TV newsreel films, and sponsor’s spot ad announcements.
film for the 6:20 show after shooting it
at 4 p.m.
More specifically, Pillsbury’s film unit
operation is regularly called upon to
perform the following services:
Shoot silent or s.o.f commercials (spot
announcements) ,
Shoot silent or sound news feature
stories,
Make slides for station or sponsor.
Shoot publicity stills,
Do the station’s art work — original
art for slides and film titles, posters and
signs for use on-the-air and at-point-of-
purchase, and make sets and props for
studio use.
For executing these tasks Pillsbury
has at his disposal the following:
(1) — An Auricon Cine-Pro 16mm
single system sound camera, modified by
Fred Parrish to take either 400-foot or
1200-foot film magazines, and having a
prism focusing attachment for lining up
ultra-closeups (titles, etc.). There is a
complement of four lenses for the
camera: 15mm, 25mm, 50mm. and
100mm.
(2) — A Bolex H-16 silent camera on
which the above-described lenses are also
used,
(3) — A portable camera dolly —
“homemade” and described later,
(4) — A 35mm still camera,
(5) — View camera for publicity stills,
(6) — Portable lighting equipment:
two 4-bulb floods on wheels, four to six
single reflector- floods, and “spots” for
highlights and fill light.
(7) — Colortran equipment,
(8) — Film developing, titling and
editing equipment.
Inventive ability — an attribute the
Army likes to refer to as “field in¬
genuity” — is Pillsbury’s most valuable
asset in the battle between budget and
production. Much of the above described
equipment was constructed by him as
the need for it arose. There is the sturdy
camera dolly made of %-inch plywood
set on a frame of two-by-fours, with
rubber-tired wheels added. Total cost
of materials, $20.00.
In making his lighting equipment, he
aimed at getting optimum lighting com¬
bined with maximum portability. Result,
(Continued on Page 162 )
HOMEMADE film processing drum and dry¬
ing rack enable Pillsbury to develop news¬
reel and sponsor ad film footage quickly
to meet ever-present deadlines.
lit 7 * ») u i ■ * < |i
American Cinematographer
March, 1955
145
Hi
Roaring oldsters . . . right in your lap!
jiF
^PW1'
Ihe thrill of being close up— actually there and taking part! Enter¬
tainment so believable that make-believe overcomes reality.
These are dynamics of today’s wide-screen pictures— where every
seat in the house is down front.
With new technics of presentation have come new problems
of production, processing, and projection — problems which the
Eastman Technical Service for Motion Picture Film helps the in¬
dustry to solve. Branches at strategic centers. Inquiries invited.
Address: Motion Picture Film Department
EASTMAN KODAK COMPANY, Rochester 4, N. Y.
East Coast Division Midwest Division
342 Madison Avenue 1 37 North Wabash Avenue
New York 17, N. Y. Chicago 2, Illinois
West Coast Division
6706 Santa Monica Blvd.
Hollywood 38, California
ii
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r m-* j
Ted McCord, A.S.C.
Because he had never before shot a picture
in CinemaScope and color, and because Elia
Kazan wanted no “formula” cinematography,
Ted McCord was chosen to do
The Photography Of "East Of Eden"
By ARTHUR GAVIN
‘ i Qast of Eden,” which Elia Kazan produced and di-
L. rected for Warner Brothers, is a picture that will be
talked about for a long time to come. From start to finish and
in every department it is a superlative accomplishment; it
will be prominent a year hence for the number of nomina¬
tions for Academy Awards it unquestionably will receive.
When John Steinbeck’s “East of Eden’’ was published in
1952, it was acclaimed by the public and the critics as one
of America’s great novels. The motion picture is based on
approximately the last fourth of this monumental novel about
two families who settle in Salinas Valley, California. The
action of the film takes place in 1917 and depicts the clashes
of personality between Adam Trask, a devoutly religious
man (Raymond Massey), and his twin sons, Cal (James
Dean) and Aron (Richard Davalos). Both lads fall in love
with the same lovely girl, Abra (Julie Harris), who is a
classmate of theirs at Junior College. How the two sons
react when they discover the shady occupation of the mother
they had believed dead since their infancy is dramatically
presented.
Kazan spent months in selecting the cast for this picture
from actors available in Hollywood and New York. The
majority of the actors he finally chose are relatively unknown
to motion picture audiences. Kazan’s criterion was not to
obtain name stars but the actors best equipped to give the
most realistic interpretation of their particular roles.
And he followed the same approach in choosing his di¬
rector of photography — Ted McCord, A.S.C.
When Kazan told Ted the picture was to be filmed in
FILMING SCENES of Cal and Abra in the topmost gondola of
a Ferris wheel for “East of Eden,” involved use of several
pieces of unusual equipment: the industry’s largest camera
crane on which Ted McCord mounted his CinemaScope camera;
a telescoping parallel for the mike boom; and a giant con¬
struction crane from which was suspended the platform
holding the necessary lights. The Ferris wheel was erected
on the Warner Brothers Studio back lot, and the photography
was done at night.
CinemaScope and color, the latter wanted to withdraw from
the assignment, saying that despite his long career as di¬
rector of photography, he had never photographed a picture
in CinemaScope, and had done nothing important in color.
“All the more reason why I want you,” said Kazan. “You
won’t have any preconceived notions about CinemaScope
and color. You won't be following formulas, but will be
more inclined to use your imagination, to freely explore
and create. And that’s the kind of photography I want for
this highly dramatic and unusual story.”
Much of the picture was shot in the actual locale of the
novel in Salinas. Here, in a district known as the world’s
salad bowl, the sequences were filmed in which Adam em¬
barks on his ill-fated lettuce refrigeration project.
In nearby fields the scenes in which Cal is nursing along
his bean crop were photographed. The shooting of these
scenes were synchronized with the farmer’s planting so that
the bean crop would be precisely three inches in height at
the time filming began.
For the sequence which shows the freight train loaded
with Adam's crudely refrigerated lettuce, arrangements were
made with the Southern Pacific Railroad to secure a loco¬
motive which actually had made freight runs through
Salinas in 1917. This grizzled veteran of the rails had
travelled approximately thirty-seven million miles before
making its screen debut.
The exterior scenes in the town where the boys’ mother,
Kate, operates her gambling house were photographed in the
picturesque little town of Mendocino, California, in the
heart of the beautiful redwood country.
Though as much shooting as possible was done on location,
considerable work remained to be done at the studio. This
involved the building of elaborate sets designed by art di¬
rectors Mai Bart and James Basevi.
Since in up-todate, 1954 Salinas television antennae and
other marks of modern progress are omnipresent, a replica,
of Salinas as the town looked in 1917 was constructed on
the Warner Brothers’ back lot. The shops were built in the
same wooden style then in vogue and their shelves and show-
(Continued on Page 169)
American Cinematographer
March, 1955
149
Patent
Pending
• JUNKS SPLIT REELS AND FLANGES!
• DESIGNED TO FIT ALL REWINDS!
® FOR LEFT AND RIGHT SIDE REWINDS!
© SAVES STORING FILM ON REELS!
O CHROME PLATED BALL BEARING film guide roller!
O CORE ADAPTER FITS 16mm and 35mm plastic cores!
• ELIMINATES CINCHING AND FILM ABRASIONS!
© DOES NOT INTERFERE with normal use of the rewind!
PRICE: $29.00 Each
New descriptive literature available
Patent
Pending
30 Day
Money
Back
Guarantee
Tightwind
adapter
for
left side
rewind.
EVERY FILM EDITOR NEEDS THE
CAMART TIGHTWIND ADAPTER
UNIVERSAL MODEL for 16mm and 35mm film
HERE'S 8 REASONS WHY
• CAMART
SYNCHRO-VIEW-LITE
A practical modification of
your Moviola 35mm synchro¬
nizer that will aid marking
and scene identification by
means of a solid insert with
a built-in light. An excellent
support when marking 17.5-
mm and 35mm magnetic
film. The solid insert is
grooved for adjustable 35-
mm to 17.5mm rollers. A
great time saver.
SYNCHRO-VIEW-LITE, com¬
plete with light, solid insert
grooved for 17.5mm $32.50
Solid insert only, grooved
for 17.5mm . $17.50
Pair adjustable 35mm to
17.5mm rollers . $13.00
©
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REGEL
LIGHT
MODEL
600
REGEL-LIGHTS MEAN
HI-INTENSITY
COLOR CORRECTED
LIGHT
from low cost 150 watt bulbs.
ONLY 16 amps required for
5000 watts, model 600 com¬
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ONLY 10 amps for 3000 watts,
model 400 complete $90.00.
Includes head, stand, barn¬
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color-correcting voltage booster.
Immediate delivery. Send for
descriptive literature.
• MORE CAMART PRODUCTS!
TV CAMERA DOLLY . $1,725.00
TV MIKE BOOM, portable . 245.00
OPTICAL FX UNIT . 119.75
THE ROTATOR LENS . 150.00
THE SCOUT TRIPOD . 104.50
TRIANGLE with tripod damps.. 29.50
TV MATTE for Moviola _ _ 4.95
ELECTRIC FILM TIMERS . 95.00
CAR-TOP CLAMPS, set of three 28.00
AND A COMPLETE LINE OF
CAMART ACCESSORIES FOR
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The Photo Products Department
of E. I. Du Pont de Nemours & Com¬
pany is preparing to introduce a new,
synthetic safety film support known as
“Cronar” polyester photographic film
base. This new base is extremely tough,
possessing outstanding strength and
flexibility even at low temperatures.
Along with the development of
“Cronar” base, the Du Pont Company
has been investigating several techniques
for splicing motion picture film. This
has been done for two reasons. First.
“Cronar” cannot be spliced with the film
cements used to splice cellulose triace¬
tate film, even though it can be spliced
to itself with a cement formulated
specifically for the purpose. Second, be¬
cause solvent cement splices are well-
known for their tendency to fail un¬
expectedly, it was hoped that splicing
techniques could be developed which
would yield a stronger, more dependable
splice with any film base.
One of the techniques investigated ap¬
pears to have real advantages over
cement splicing for certain motion
picture and television applications. It
yields strong, durable splices on any
kind of film base, without the need of
scraping or cementing. This technique
makes use of a thin, perforated, trans¬
parent adhesive tape made from “Mylar"
polyester film. It was suggested by
Hollis W. Moyse of the Du Pont Photo
Products Division.
Pressure-Sensitive Tape Splices
Tape-splicing of motion picture film is
not new. Our tape, however, is made
from “Mylar" polyester film only 1 mil
thick, coated with a superior-type, trans-
(Continued on next page )
DEMONSTRATION of new motion picture film-splicing method using tape was given
recently before members of the American Society of Cinematographers by author
W. R. Holm (in dark suit). New method employs unique splicer and “Mylar” tape.
Splicing Motion Picture
Film With Tape
BY W . R . HOLM
Written for the American Cinematographer from a paper by V. C. Chambers and W. R. Holm presented
at the SMPTE convention in Los Angeles, California, October 21, 1954, and subsequently published
in the SMPTE Journal, January, 1955,
FIG. A — EXPERIMENTAL model of radically new motion picture film
splicer. Comprising two sections — 1, the tape holder and applicator,
and 2, the splicer base — splicing is accomplished by binding film
sections together with “Mylar” tape.
FIG. B — Photo 1 shows tape holder and applicator with cover re¬
moved — more properly termed the Dispenser Unit. Note that the
gummed “Mylar” tape has standard 35mm perforations. Photo 2
shows base with Dispenser removed.
American Cinematographer
March, 1955
151
parent adhesive about 0.5 mil thick,
making the total tape thickness only
about 1.5 mils. Splices are made by ap¬
plying pieces of this tape two frames in
length to both sides of the film, as shown
schematically in Figure C. Figure C-A
shows a butt splice, the total thickness
of which is 9 mils for a 6 mil film.
Figure C-B shows a lap splice, the total
thickness of which is 15 mils. This
latter splice may be made either to full-
hole or to half-hole dimensions without
significantly affecting the strength of the
splice. Neither the butt nor the lap
splice requires scraping or cementing.
The Tape Splicer
When applying the tape to the film,
two conditions must be met if the splice
is not to be apparent on the screen. First,
the edges of the tape must be outside
the frame, second, the tape must be
applied smoothly, without wrinkles or
trapped air bubbles. The splicing device
shown in Figure A is an experimental
model that we have developed.
As can be seen from Figure B-l, the
perforated tape is fed from the supply
spool onto the sprocket wheel of the tape
dispenser, with the non-adhesive side of
the tape against the sprocket. This wheel
is slotted in four places around its cir¬
cumference so that the knife-blade
shown can cut a two-frame length of
tape to be dispensed.
To make a splice, the two lengths of
film to be joined are positioned onto the
registering pins of the base unit, shown
in Figure B-2. Actuating the plunger at
the forward end of the dispenser unit
causes the knife-blade to cut a two-frame
length of tape on the sprocket wheel.
Now the dispenser unit is positioned into
channels in the base unit and moved
from right to left. This rolls the precut
length of tape off the sprocket wheel and
applies it, in register, to the films to be
spliced. The film is then turned over
and the operation repeated to complete
the splice. The dispenser cannot be posi¬
tioned into the channels of the base unit
unless the knife-blade plunger has been
actuated to cut off a two-frame length of
tape.
Laboratory Data
“Mylar film and the adhesive layer
are essentially transparent and colorless,
and when applied to both sides of a
motion picture film, reduce the optical
transmission of the two frames involved
by only about 7%, an amount which
allows the splice to go completely un¬
noticed on the screen.
Stress-strain measurements on both
“Mylar” is a registered trade-mark of E. I.
Du Pont de Nemours & Company, (Inc.)
“Cronar” is a trade-mark, for which registra¬
tion application has been made, of E. I.
Du Pont de Nemours & Company, (Inc.)
TAPE SPLICES ON 6 MIL FILM
BUTT SPLICE -
TOTAL THICKNESS • 9 MILS
LAP SPLICE -
TOTAL THICKNESS ■ 15 MILS
FIG. C — Splices are made by applying
pieces of “Mylar” tape two frames in
length to both sides of film. (A) is butt
splice having total thickness of 9 mils.
(B) is lap splice, having a total thickness
of 15 mils. The film itself is 6 mils
thick. Tape splices require no scraping
or cementing of film.
butt and lap splices show that these
splices can withstand stresses far in ex¬
cess of those which the perforations can
withstand. Tensile tests carried out over
a range of relative humidities show the
strength of these tape splices to vary but
little with change in relative humidity.
At low humidities, where solvent cement
splices tend to become weak, the tape
splices withstand stresses more than five
times the amount required to completely
strip the perforations from the film. At
high humidities, 95% to 100%, there is
some reduction in ultimate strength,
though here again the test splices with¬
stood stresses much in excess of the
strength of perforations as they run on
sprockets. Too, it will be remembered
that unspliced cellulose triacetate film it¬
self shows reduced strength at high rela¬
tive humidity.
The effect of temperature on the
strength of tape splices was investigated,
and no significant difference was found
in the stress range of normal operation
of motion picture film handling equip¬
ment. Even at temperatures as high as
140°F the tape splices were stronger
than the perforations. And at tempera¬
tures as low as — 26°F, the tape splices
showed good strength, with no tendency
to become brittle and weak.
Creep of the adhesive bond at high
temperature was also investigated. Ob¬
viously the rate and duration of the
stress application affects the result here,
and under sustained load creep did take
place. But it required several hours at
a temperature as high as 120°F for a
sustained load of more than five pounds
to cause the tape splices to fail. Com¬
pare this with the fact that a five pound
load will strip the perforations from cel¬
lulose triacetate film in less than a
second! Furthermore, motion picture
equipment in normal use never applies
a long continued stress to film, and
therefore uses this new type of splice
under most advantageous conditions.
No measurable slippage of the tape
splices could be induced by continuous
high-intensity arc projection of film
loops, by aging tightly wound rolls, or
by repeated rewinding of rolls under
tension at 150°F. In the course of these
operations no tendency of the adhesive
to bleed was noticed, even at the tem¬
perature above 100°F. During high in¬
tensity projection of loops of black-and-
white film, blistering of the emulsion
took place before the tape splices were
affected by the heat.
Creep and the dynamic characteristics
of the splices were found essentially un¬
affected by change in relative humidity
from 5% to 100%.
Because of the high tear strength of
the “Mylar” polyester film from which
the tape is made, the tear strength of the
tape splices is greater than that of cellu¬
lose triacetate film.
Both lap and butt splices have been
cleaned with all kinds of commonly-used
film cleaning solutions, without loosen¬
ing the tape. Yet these tape splices can
be taken apart and the films respliced
without any loss of frames.
Laboratory Projection Tests
Both lap and butt splices show good
screen steadiness and run smoothly
through a projector, though butt splices
do tend to become noisy after 50 to
100 projections, due to the flexing of the
butt joint. Lap splices, having greater
stiffness do not show this effect.
Most splices tested have been pro¬
jected in loops more than 1000 times
without splice failure, even under con¬
ditions below 10% R.H. As must be
expected, even with splices as these,
there are factors which make some last
longer than others. Yet the minimum
number of projections for any tape
splice we have made was 345 runs, and
we have not had a tape splice come apart
during projections. In fact, the great
majority of tape splices have outlasted
acetate film when attempts have been
made to run them to destruction.
Other Applications For Tape Splices
Both lap and butt splices made with
a tape manufactured from “Mylar”
coated with an opaque, water-resistant
adhesive have been used for splicing
rawstock for both black-and-white and
color processing, and the processing
solutions did not loosen the tape. Tape
-plices may therefore be of interest to
laboratories as an alternate for clip,
(Continued on Page 16ft)
152
American Cinematographer
March. 1955
EASTMAN
PROFESSIONAL
MOTION PICTURE
FILMS
W. I. GERMAN, Inc.
John Street 6040 N. Pulaski Road 6677 Santa Monica Blvd.
Fort Lee, New Jersey Chicago 30, Illinois Hollywood 38, California
FIG. 1 — SCOTCH TRACK magnetic laminator, which applies magnetic oxide sound track
material in strips to 16mm or 8mm motion picture films. Numerals identify location of the
important components described in larger detail in the similarly numbered photos below.
The humidity cabinet, which is not otherwise pictured, is shown at (4). (All photos courtesy
Minnesota Mining and Manufacturing Company.)
Laminated Magnetic Sound
Tracks For 16mm Films
New Scotchtrack laminator applies strips
of magnetic track to films in 30, 50, or
100 mil widths by novel “dry” process.
By ARTHUR RESCHER
Capital Film Laboratories . Inc.
Since August of 1954, Capital Film
Laboratories, Inc., ashington,
D.C., has had in commercial operation a
new machine — the Scotchtrack lamina¬
tor — which has been somewhat faceti¬
ously referred to as a large-scale Scotch
tape dispenser. Take some Scotch tape
(magnetic variety), add some 16mm or
8mm motion picture film, press a button,
and out comes a revolutionary, new type
of magnetic sound track developed by
the Minnesota Mining and Manufactur¬
ing Company. The product is formally
known as “Scotch Brand Magnetic Lami¬
nate” or “Scotch Track." Termed a ma¬
jor improvement in magnetic sound-on-
film. the process has met with marked
success from its inception.
Developed by the largest producer of
magnetic tapes and coatings today, the
FIG. 2 — View of pre-coater (lower left),
the track slitter, and applicator (center)
where track is bonded to the film.
3M method of applying a non-liquid
magnetic track to motion picture film is
done entirely automatically. The Scotch
Track laminator bonds the special mag¬
netic oxide track permanently to the
film by a dry process employing no
solvent or liquid magnetic disper¬
sions. In the new process a layer
of magnetic laminate material, actually
the 3M Company’s “High Output” mag¬
netic oxide, is precision-coated at the
factory on wide sheets of temporary
plastic backing. The highly uniform
sheets are then slit into the familiar
quarter-inch rolls in the manner of regu¬
lar magnetic broadcast tapes. After re¬
ceiving this raw material, Capital Film
Laboratories threads it into the applica¬
tor machine, then sets the micrometer
controls for the proper width of stripe
for the specific job.
The magnetic material is then lami¬
nated to the film. In the same operation
the temporary backing is automatically
stripped off, leaving only the “factory
perfect” magnetic track. Bonding of the
magnetic track to the film is accom¬
plished by an electric heating element on
the laminator, which activates an ad¬
hesive built into the laminate material.
No heat is applied to the film. The new
method is expected to benefit users of
16mm motion picture film in television,
industry, education and government, as
well as the 8mm and 16mm amateur
movie fan. In addition to improved qual¬
ity, the method offers faster sound track¬
ing service to the film user. No liquid
dispersions are involved, and there is no
necessity for drying or set-up time. The
film itself is never subjected to high
temperatures in a curing compartment.
The new magnetic track can be ap¬
plied with equal facility to either the
FIG. 3 — Closeup of slitter-heater-bond¬
ing assembly, referred to at left. After
track is applied film moves to right.
154
American Cinematographer
March, 1955
base or emulsion side of the film; to
both color and black-and-white films;
and in track widths of 30 mils for dou¬
ble-perforated film or in 50 or 100 mil
widths for single-perforated film, de¬
pending upon whether the user wishes
half the sound track area or the full
sound track area coated.
The major advantages of magnetic
sound to the film producer are greater
output and absolute uniformity. Using
the 3M Company’s exclusive “High Out¬
put” magnetic oxide, the “Scotch” track
provides from 5 to 12 db greater signal
with no increase in distortion or noise.
This is highly advantageous in magnetic
projectors (where hum fields exist be¬
cause of the proximity of the reproduce
head to the drive motor and power trans¬
former) since the 5 to 12 db increase
in output gives substantially improved
signal-to-noise ratio. Also, since the sur¬
face of the track is extremely smooth and
flat, the magnetic head on the projector
contacts the oxide track perfectly, result¬
ing in considerably better response to
high frequencies.
Uniformity of the coating under the
new process is insured because the mag¬
netic track laminate tape is coated in
wide widths on precision equipment at
the 3M Company factory, where coating
thickness and output is held to the same
standards as those of present-day high-
quality magnetic tape. As a result, out¬
put uniformity is controlled within plus
or minus 14 db within a reel and % db
from reel to reel. The control does not
depend on the skill of the operator dur¬
ing the film tracking process, but is
built into the laminate tape itself. Since
the process is dry and the laminate ma¬
terial is slit from wide widths, no
“beads" or high edges are left on the
FIG. 4 — Following bonding of oxide
magnetic track to film, the plastic base
is removed from the track and discarded.
-TV <rv-; v^r-rr
—• a. a 00 ■
> e ooot
J
I
|> o a a i f .
Thcr.mopuast!c Adhesive — t
FIG. 5 — Crosssection diagram of Scotch
Track. The cellophane backing is a tem¬
porary carrier for the oxide track and is
removed after track is bonded to film.
track surface to cause excessive projec¬
tor head wear.
Of additional importance is the fact
that the laminating method of applying
magnetic sound tracks to spliced films
eliminates spreading, or cracking of the
track at the point of splice, where the
laminate track is uniformly applied.
The laminating tape itself is of special
construction. As may be seen in the
cross-section diagram, it consists of a
two-layer coating on a plastic backing
0.0016-inch in thickness. The first or
magnetic layer consists of a coating
0.0007-inch thick of special “high out¬
put" magnetic oxide dispersed in a
resin binder. The magnetic layer is
applied to the plastic base by the same
coating methods used for “Scotch”
brand magnetic tapes. The second layer
of the coating consists of a 0.0001-inch
layer of a thermo-plastic type adhesive
designed to be activated by heat. This
adhesive forms a permanent bond be¬
tween the magnetic track and the film
when applied by heat and pressure in
the laminating process.
The “Scotch” Brand magnetic lamina-
tor now in operation at Capital Film
Laboratories consists of five main com¬
ponents, some of which are shown in
detail in the accompanying photographs:
(1) A pre-coater located in the lower
left-hand corner of the machine (Fig. 2).
Here a small wick moistened with a
cleaning solution cleans a narrow path
on the film where the magetic track is
to be applied. The solution is harmless
to the film.
(2) A slitter (Fig. 3), consisting of
a pair of rotating knives, slits the I/4"
laminate tape to the desired track
width. Two micrometer controls adjust
width selection and track placement.
At this point the excess width of the
laminate tape is carried to a take-up
reel for later use.
(3) A thermostatically - con troll e d
electric heater unit (Fig. 3) through
which the laminate tape passes next,
“activates” the adhesive. The laminate
tape is then rolled under pressure into
a firm and permanent bond with the
film.
(4) A humidity cabinet (right side
of machine (4) in Fig. 1), afterward
conditions the film at 90% relative hu¬
midity and prepares the temporary plas¬
tic backing of the laminate tape to be
stripped off easily. An “elevator” incor¬
porated in a cabinet provides enough
slack film to allow the take-up drive to
be stopped and reels changed without
stopping the supply and laminating sec¬
tion of the machine.
(5) A stripper-roller (Fig. 4) per¬
forms the operation of removing the
temporary plastic backing from the
magnetic track, completing the process.
The transparent backing is rolled up
on a take-up split reel for convenient
disposal.
Two separate drive systems are em¬
ployed. The main drive system pulls
the film through the pre-coater and pres¬
sure roller assembly and feeds it into
the humidity cabinet. The main drive
also supplies power to the slitter knives.
No sprockets are used anywhere in the
machine. Rotational speed of the knives
is controlled by a variable speed clutch,
which is adjusted to supply laminating
tape at the proper tension to the lami¬
nating assembly. The take-up drive sys¬
tem, on the other hand, pulls the film
from the humidity cabinet, removes the
plastic backing and winds the film on
the take-up reel.
Capital Film Laboratories has been
in operation with this process for over
a year-and-a-half, the last six months
employing the new Scotchtrack lamina-
tor. The comany feels the process offers
numerous advantages to the 16mm film
producer, some of which are:
(1) Improved sound quality which
magnetic recording affords.
(2) Ability to record instantaneously
without delays in printing and develop¬
ing time.
(3) Simplification of riding the gain
control. Optimum results may be ob¬
tained with less control by the engineer.
(4) Permits the use of two sound
tracks on one film — a magnetic and a
photographic track — allowing the mag¬
netic track to be changed (re-recorded)
when desired.
(5) Old films can be modernized with
magnetically-recorded up-to-date tracks.
(6) One print can be released for
many different languages simply by re¬
recording the magnetic track.
(7) A film producer can track his
work prints to facilitate editing, can re¬
view the cut picture with simple narra¬
tion, and quickly prepare a screening
for a client or for agency personnel.
(8) As a tool for industrial research
departments, films of new products can
carry a separate narration for different
company personnel levels, or the tracks
can be changed to carry the results of
progressively improving product re¬
search. end
American Cinematographer
March, 1955
155
THERE IS A
HOUSTON. FEARLESS
FILM PROCESSOR
FOR EVERY NEED!
Whatever your requirements in motion picture or TV
film processing equipment, Houston Fearless has the answer.
16mm, 35mm, 70mm . . . black and white or color . . .
negative, positive, reversal or positive-negative color film . . .
from 5 to 250 feet per minute . . . from the smallest,
most compact unit to the largest installation, Houston Fearless
builds the finest, most dependable, best engineered of all
processing equipment. Houston Fearless is a major supplier to
the Military and is known and respected throughout the world.
Only a few of the many Houston Fearless models are
shown here. For complete information on the type of equipment
best suited for your particular needs or for help on your
special requirements and problems, send the coupon below.
Houston Fearless engineers will recommend what is most
appropriate and, if desired, plan your entire film processing
lab for maximum efficiency and highest quality results.
r
HOUSTON
FEARLESS
L
"World's Largest Manufacturer of Motion Picture
Film Processing and TV Studio Equipment ’
HoostoH-FecHess Corporation
pL °!y:pi< “» k c.«f.
,0 be used for JhTfollowiTg purpo^''"9 eqU''pment
11809 W. OLYMPIC BLVD. LOS ANGELES 64, CALIF.
BRadshaw 2-4331
620 FIFTH AVE., NEW YORK 20, N.Y. Circle 7-2976
NAME,
FIRM,
ADDRESS,
CITY, _
-ZONE - STATE,
The New "Auricon Pro-600
New 16mm sound-on-film camera is self-
blimped and features 600-foot magazine,
plus wide variety of accessories.
By LEIGH ALLEN
AS its name implies, the new Auricon Pro-600 camera’s
salient feature is its big, 600-foot film capacity, which
offers I6I/2 minutes of continuous shooting. This newest of
16nnn optical sound-on-film cameras from the Berndt-Bach
drawing boards replaces the familiar Auricon-Pro camera,
which had a film capacity of only 200 feet. Because of its
greater film capacity, its successor is ideally suited to the
production of television films.
Larger film capacity, however, is not the only interesting
new feature of this camera. It provides many built-in features
that are important in professional film production, as well
as a wide variety of accessories. These include a selection of
three interchangeable camera doors, a 3-lens turret, lens
turret “blimping” hood, critical ground-glass focusing, tele¬
finder optical system for filming with telephoto lenses, and a
choice of optical sound-track-on-film recording galvanometers
and amplifiers.
The camera is self-blimped to assure the ultimate in quiet
operation for studio use. The synchronous motor drive pro¬
vides an unwavering 24-frames per second speed for either
single-system or double-system s.o.f. production. Exclusive
Electromatic Take-up provides dependable smooth film flow
to and from the magazines without the need for friction
clutches or slip-belts. A unique method of applying a small
FRONT VIEW of the new Auricon Pro-600 1 6mm synchronous
sound-on-film camera, which features 600-foot film maga¬
zines and built-in soundproofing in the case structure.
amount of tension to the take-up spool of film, even when the
camera is not in motion, keeps the film loop tight between
the recording sprocket and the take-up magazine, insuring
smooth film flow at all times.
Flexibility and accuracy is combined in the design of the
interchangeable door feature. Camera doors may be inter¬
changed without the need for tools. One provides for mount¬
ing the regular Auricon Auto-parallax Viewfinder Model
EIF-20; another for use when a Zoom-type lens is employed;
and a third which mounts the Standard Auricon Viewfinder.
(Continued on Page 178)
VIEW OF camera with door opened, and lens-turret blimping head (1) extended for
access to lens focusing controls; (2| is 3-lens rotary turret; (3) 600-ft. film magazine,
which provides 1 6 y2 minutes of continuous shooting; (4) recording galvanometer; and
(5) Auricon Autoparallax Viewfinder. Note, also film threading diagram inside door.
REAR VIEW showing focusing tube, indicator light,
push-botton control and other features. Camera
replaces former Auricon Cine-Pro.
American Cinematographer
March, 1955
157
Amateur
CINEMATOGRAPHY
Editing An Unscripted Movie
Some movies need a script after they are
shot. You can make a successful film out
of unplanned footage shot at random by
following these simple steps.
By HAROLD BENSON
Have you ever written a script after
you’ve shot the film?
It’s not as crazy as it sounds. In fact,
it’s the best method of editing an un¬
scripted movie. Y ou can save yourself
hours of cutting and splicing, and your
film will suffer none of the hazards of
scratching and buckling that the more
orthodox trial and error editing can en¬
tail.
Of course, where you’re lucky enough
to have written a perfect shot-by-shot
script and have been able to follow it in
every detail when filming, editing will
be a mere routine procedure. All you
have to do is cut the shots to their best
length and splice them according to your
original paper work.
Personally, though. I've never yet
been able to shoot exactly as my script
prescribes, much as I'd like to. In
family filming there’s always an element
of surprise to be reckoned with. Either
Junior falls on his face at a crucial
moment or the car starts acting awk¬
ward. The unexpected incidents are
often as filmable as the scripted ones, so
the best idea is to forget your plans and
make the most of the new opportunities.
Then, of course, there are countless
movie subjects that can’t be tightly
scripted because you just don’t know
what’s going to happen. \ ou may be
taking the family to some hitherto un¬
visited spot to make movies. All you
can do is work out the vaguest of plans
for the general shape of the film and
pray that nothing too diabolical inter¬
feres with your intentions.
These are the sort of movies which
need a script after you've shot them if
you’re going to make a real success of
editing the material. Once you’ve got
past the initial glee — or despondency —
of screening the reels on their return
from the processors, run them through
the viewer and take notes as you go.
Your notes should cover every shot
as fully as possible — but that needn’t in¬
volve as much labor as it suggests. For
instance the notation, “8 secs., Jnr. gets
out of car at park gates, pan L. to fol¬
low, ? U-E,” tells everything you need
to know about that particular shot. It
gives the length of the shot, the approxi¬
mate screen size (medium shot), the
character featured, the location and the
camera movement. “? U-E” implies
that there might be slight under-ex¬
posure; notes of imperfections of any
kind should always be made.
Perhaps you re wondering about that
notation, “8 secs.” For this you'll need
a frame and footage rule. Ray Mercer,
Hollywood, markets just the thing for
this. You can use it to measure a strip
of film in either “number of frames” or
“number of seconds screen time.” Or
you can easily make your own. Take
a length of 8mm or 16mm leader —
depending on the film size you are work¬
ing with — a strip a little shorter than
the width of your cutting bench, and pin
it along the near edge. Starting at the
left end of the leader, mark off every
sixteenth frame, and number the marks
from 1 onwards. To find the screen time
for a given length of film, all you have
(Continued on Page 167)
WHEN SHOOTING without a script, your
chances of getting good continuity in the
editing will be assured if you make ad¬
ditional shots of the most important action
that will provide material for flexible edit¬
ing. As for example, here, after the estab¬
lishing shot is made at position (1), the
filmer will move forward to position (2) for
a closeup of the woman, then move over
to position (3) for a closeup of the child.
158
American Cinematographer
March, 1955
A change
for the
better...
when you
try finer
Ansco Hypan
You’ll find this famous Ansco black-
and-white film will make a big im¬
provement in your home movies.
Its emulsion gives images of unusu¬
ally fine grain, with inherently bril¬
liant contrast. 1 he result is more
snap, sparkle and detail — higher
quality motion pictures.
And scenes like the one shown above
are easy with Ansco Hypan Film. It
has the speed to permit you to shoot
really fine footage indoors as well as
outside, (exposure indexes are 40
daylight, 32 tungsten.)
There’s still another big advantage
of using Ansco Hypan — its price is
surprisingly low. That means you
can make more top-quality movies
and stay comfortably within your
film budget.
So switch now to Ansco Hypan Film
and make better home movies at
lower cost. Leading photo dealers
have it for 8 and 16mm cameras.
Ansco
Binghamton, N. Y. A Division of General Aniline & Film Corporation.
“ Frovi Research to Reality .”
Want softer,
more natural color
in your movies?
Ask for
Ansco
Color Film
In 8 and 16mm
magazines
and 16mm rolls.
Amateur
CINEMATOGRAPHY
CAMERA TRICKS
Properly executed, they lend a
professional touch to amateur
films, give class to titles.
By CHARLES LORING
NUMEROUS effective tricks can be made by filming with the
camera upside-down, as shown here. Camera is mounted on
tripod with a simple strap-iron bracket; scenes filmed this way
are then turned end-for-end when edited, with action appear¬
ing in reverse motion.
Camera tricks are what the term implies — trick photo¬
graphic effects made with the camera, instead of being
done optically after the film is shot. Camera tricks, as differ¬
entiated from special effects, are cinematic devices which are
deliberately slanted to surprise, bewilder, or amuse the
audience. When cleverly staged, they add zest to the motion
picture story, especially so if it is a comedy, and they can do
much to project the mood of a film based on fantasy.
Whereas a good special effect may create an illusion of
reality without making the audience immediately aware of
the deception — as in the soon-to-be-released Universal-Interna¬
tional production, “This Island Earth’' — the camera trick
makes no attempt to disguise itself. Its effectiveness depends
upon its originality, appropriateness, and technical smooth¬
ness. Au audience generally enjoys being tricked — but the
trickery must be presented in a professional manner, or it will
lose much of its impact. For example, in producing an effect,
any “wires behind the scene” should not be allowed to show
through and thus give away the trick.
Camera tricks require extensive detailed planning. Rather
than throwing them indiscriminately into the script, they
should be carefully slanted to gain a specific reaction from the
audience. If a trick effect is important to the plot, the scenes
which precede it should create a suitable build-up.
Before any trick effect is attempted, tests should be made
and information assembled so that the mechanics of technique
FILMING A cloud-effect background for a title. Spun glass is
moved slowly over a lamp covered with dark blue cellophane
as the exposure is made. The film is then wound back in the
camera for the superimposure of the title text.
will be as nearly perfect as possible. Nothing is as distract¬
ing as a trick in a film that doesn’t quite Come off.
Because camera tricks are something that any imaginative
cine amateur can do, some of the cinematic tricks that may
be achieved with the average 8mm or 16mm camera will be
discussed in the following paragraphs.
JJ pside-down filming, one of the oldest of all camera effects,
has been employed both cleverly and clumsily ever since the
beginning of movies. It is still an effective device when cor¬
rectly applied.
The basic mechanics are simple: the camera is mounted
upside-down on a tripod, using a simple bracket. The one
shown in the accompanying photo consists simply of a length
(Continued, on Page 172 )
160
American Cinematographer
March
1955
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PRODUCTION EQUIPMENT
MANY ITEMS BELOW
ACTUAL COST!
35mm CAMERAS
ARRIFLEX, 2-200' magazines, motor, sun¬
shade, 3 lenses, case, excellent condition,
worth over $1200. Special . $795.00
ARRIFLEX, model II, very fine condition,
choice of four 200' or two 400' magazines,
35, 50, 85mm Zeiss coated lenses, motor,
sunshade, case, tripod, battery. Over $2400
value. Specially priced at . $1,295.00
CINEFLEX, 2-200' magazines, 35mm f 2 . 3 ,
75mm f2.3, 6" f4.5 Apogar lenses, motor,
case, like new condition . $595.00
EYEMO model 71K, filter slot, drum type
finder, open back for magazines, includes
one 400' mag, motor, 2” f2.8 lens, case,
like new, value over $900. Special. .$595. 00
DEVRY 1 00' newsreel camera, 2" and 6
lenses, can be adapted for single frame,
very fine . $ ^ 1 5.00
16mm CAMERAS
ARRIFLEX 16mm reflex camera, brand new,
available for immediate delivery, three
lenses, case, battery and charger.. $2,1 34.00
WESTERN ELECTRIC single system sound cam¬
era, three lens turret, built in motor, finder,
light valve for sound, case, perfect, value
over $1400. Special . $595.00
AURICON SUPER 1200 single system cam
era, two 1200' magazines, auto parallax
finder, model S variable area galvo, match¬
ing amplifier with accessories, cases, tripod,
value over $5300. Demonstrator, almost
new . $4,450.00
BERNDT-MAURER camera, prismatic focusing,
registration pins, sync motor, viewfinder,'
sunshade, 15mm, 25mm, 50mm lenses,
case, 400' magazine, very fine production
camera. Value $3500. Specially priced
at . $1,795.00
CINE SPECIAL I, black camera, 200' cham¬
ber, 15mm, 25mm, 63mm lenses, very
fine . $545.00
AURICON sync motor for Cine Special, like
new, value $160.00, special . $129.50
BIG SAVINGS ON
COLORTRAN KITS
Senior kits, new, previous model. ...$ 1 85.00
Senior kits, used, perfect . 165.00
Junior kits, new, previous model.... 145.00
Junior kits, used, perfect . 125.00
Spot kits, new, previous model . 195.00
Spot kits, new, perfect . 175.00
Movie model converter, previous
model, with Kelvin and amp meters,
takes 16 to 20 bulbs, special . 125.00
MISCELLANEOUS
MOVIOLA Model ULPCS, 16mm picture and
sound, excellent . $1550.00
MOVIOLA 16mm silent picture head, re¬
built, excellent . $245.00
DEVRY 35mm sound projectors, model XD,
two projectors, magazines, one amplifier,
one speaker, completely rebuilt and guar¬
anteed condition, special . $995.00
TELESCOPING mike boom, geared action
drive zooms from 13' to 19', also pan and
tilt control, pneumatic wheels, collapsible.
Custom built at a cost of $1200. Specially
offered at . $695.00
FILM EDITORS Stop watch 1 6-35mm..$ 1 3.95
THE CAMERA MART, INC.
1845 BROADWAY AT 60TH ST.
NEW YORK 23, NEW YORK
PHONE: CIRCLE 6-0930
CABLE: CAMERAMART
SMALL TV STATION FILM UNIT
(Continued from Page 145)
the equipment is ample for any location
shooting he may be called upon to per¬
form. The two “broads” were made of
galvanized sheet iron, formed and sol¬
dered, and fitted with porcelain sign-
receptacles to take the photoflood lamps.
The lamps are wired in parallel. Black
iron gas pipe, welded together, made the
lamp standards. Wheels from discarded
hospital beds and mounted on the brazed
iron pipe base, give the units portability.
“Barn Doors” swing from each lamp;
they’re mounted on piano hinges sweated
on with solder. Each unit will hold four
No. 2 photoflood lamps, or four PAR 38
lamps, where the lights are used with
the Colortran converter. Each lamp and
standard cost about $13.00 for materials.
In tackling his film developing prob¬
lems, Pillsbury’s aim was to find a way
to develop newsreel negative in short
lengths in the shortest possible time. Pur¬
chase of one of the rapid film processing
factory jobs was, from the standpoint of
budget, out of the question. So Pills-
bury built a simple developing reel and
tank plus a drying rack — equipment
such as many amateur movie makers
built and used in the early days of the
home movie hobby. The cost? Forty-five
dollars for the entire outfit.
The vertical titler and animation rack
is one of the most important pieces of
equipment in the studio. Following the
usual Pillsbury trend for simplicity, it
is all wood, except for two 6-foot lengths
of ll/^-inch aluminum tubing, which
form the rails on which the camera base
slides. The latter, counterbalanced by
sashweights, is designed to hold either
the Auricon, Bolex or the 35mm still
camera, which is used in making slides.
There is a mask hinged to the copy
board, which shows the area normally
viewed on a TV receiver screen. This
serves to show the area limitations for
the composition of TV film titles and
advertising slides; it also serves as a
centering guide for positioning copy on
the board prior to shooting.
With the motion picture camera,
shooting is normally done in one of three
positions indicated on a scale plate
affixed at one side of the titler. An
arrow or pointer fixed to the camera
base indicates the proper position for the
shooting distance desired.
Pillsbury follows the simple pro¬
cedures many movie amateurs do in
aligning his cameras with the title copy
board: a plumb bob on a string extended
from the lens center to the base board
to determine exact center; and a flash¬
light beam sent through the film gate in
back of the camera lens to show the area
covered by the lens at a given distance.
Zoom shots of titles, etc., are obtained
by “lubricating” the aluminum rails and
sliding the camera down toward the
copy board as the exposure is being
made. Two 500-watt photo lamps, one
at either side of the titler, supply the
necessary illumination.
Despite the success he has had with
his homemade equipment and “pocket-
size” workshop laboratory, Pillsbury ad¬
vises other video station film unit men to
farm out all film work, still and movie,
unless the station can afford professional
motion picture printing and developing
equipment, plus additional employees for
the department. “Numerous film
laboratories around the country now
offer fast 24-hour film processing
service,” he said, “which, coupled with
air-mail special delivery transportation
of films both ways, provide service al¬
most as fast as one can turn it out. Also,
most of the labs have electronically-con¬
trolled printers which automatically
correct exposure difference and provide
a fully-balanced picture and sound track,
so necessary for good TV transmission.
This is particularly advantageous when
working with a single-system sound
camera.”
It is amazing the scope of film produc¬
tion which Pillsbury’s homemade
laboratory, his limited camera equip¬
ment, and his unlimited ingenuity and
resourcefulness create for station KGGM-
TV. News stories and commercials for
local sponsors make a steady demand on
his time. Despite its modest size, the
city of Albuquerque provides an almost
constant source of good news material
for the station’s news telecasts.
“Every now and then,” Pillsbury
says, “a good news feature story develops
at nearby Kirtland Air Base. I recently
did a 300-foot story about a B-36 and its
crew. The B-36 looks large outside, but
you ought to see its jam-packed interior !
To get a shot of the technicians handling
the plane’s instruments, I had to go out¬
side the nose and lay on a platform, and
make my shots through a small window.
Tri-X film shot at a speed of 650 solved
the lighting here. From six to eight No.
2 photofloods placed behind the instru¬
ment panels, bunks, or clamped to the
ceiling braces, provided the necessary
illumination for other interior scenes.
“On another occasion, I filmed the
mass naturalization of some 650 persons
inside a Federal courtroom. Here again
Tri-X was used at 650 film speed, and
the Auricon recorder set at 9 for sound.
This footage was telecast in negative
form properly converted electronically
for a positive picture.
162
American Cinematographer
March, 1955
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PHONE MURRAY HILL 2-2928
“Shooting film commercials for
KGGM-TV involves both studio shooting
and location filming. The former are a
lot easier to do, because everything is
more or less set. On the locations, we
have to improvise as we go along, and
of course, there is always the problem
of sufficient light. We often take camera,
dolly and lights into a super market and
film a shopper in action. Here, camera
and lights must follow the shopper- — no
simple task for a ‘one-man crew.’
“We film a lot of commercials in the
sponsor’s place of business — garages,
grocery stores, bakeries, clothing stores,
etc. In shooting static interiors, I often
shoot at 8 fps, using either 16mm re¬
versal or negative film.
“Our toughest s.o.f. recording job in¬
volved a singer who played his own ac¬
companiment in the manner of Jimmy
Durante. With the mike 6 feet forward
and two feet above the singer, we were
able to make a dolly shot running from
8 to 14 feet from subject. For this we
used the Fred Parrish converted Auricon
Cine-Voice camera, DuPont 931 film
(ASA speed 80), and the sound level set
at 14 on the Auricon amplifier.
“All our TV news film,” Pillsbury con¬
tinued, “is processed to negative only;
the image is converted to positive
electronically during the transmission.”
(Continued on next page)
C. ROSS
FOR
LIGHTING EQUIPMENT
Inkie and Arc Lamps including Required Accessories
Generators — Cables — Boards — Boxes
American Cinematographei
Synchronous Motor Drive for
16mm Projectors
Especially designed to drive all Bell & Howe///
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The synchronous motor drive can be instantly
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The synchronous motor drive is complete with
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Also available on special order. Synch. Motor
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Write or ask your dealer "
READY-EDDY, Sandy Ho-'
Pillsbury’s accomplishments prove two
things: the value of an experienced and
resourceful man to handle the film
operations of smaller TV stations, and
the need of those stations for facilities
to enable them to offer local sponsors
the same type of “station-originated”
service that is offered by so many
stations in larger cities.
Operations, such as described here,
eventually develop into larger projects
THE AUTHOR, A1 Simon, is one of
the pioneers of filmed television shows
in Hollywood. He planned the original
multiple camera filming system for
the “I Love Lucy” show, later started
both the “Joan Davis” and “Burns
and Allen” shows on film.
He heads A1 Simon Productions,
which organization produces commer¬
cial films. He also is production su¬
pervisor for McCadden Corporation,
Hollywood, currently producing the
“Burns and Allen Show,” “The Bob
Cummings Show,” and the “Life with
Lather” show for television — Editor.
it is being shot in the manner that live
TV shows are presently “edited.”
Still another technical advantage
which this dual camera offers is the abil¬
ity of the camera operator to keep a con¬
stant check on focus. There is no need to
rack over and check focus after each
take, because the focus quality as seen
in the electronic finder corresponds ex¬
actly with that of the image reaching the
film.
Use of remote monitors with the cam¬
era open up new possibilities for the
cameraman as well as the director when
dolly or boom shots are being photo¬
graphed or in the filming of miniatures.
Instead of riding the boom or dolly for
critical observation of the camera cover¬
age of the action, what the camera
records may be seen more conveniently
on the remote monitor, which may be
located any place near the set.
Even the sponsors of TV commercials
and their agency representatives stand
to gain when this new camera is em¬
ployed in shooting advertising spot an¬
nouncements. Very often these men
make it a point to be present when such
films are being shot, in order to insure
that their product or service is being
photographed in the most advantageous
way. The remote monitor will enable
them to see the commercial exactly as it
will appear on film, as it is being filmed.
which require the commercial equipment
necessary to render faster and more com¬
plete service — fast processors; camera
cars fully equipped for on-the-spot news
coverage; light, portable generators to
power lighting on remote filming assign¬
ments, etc. But first there has to be the
pioneering necessary to developing a
market for film services. And that, Tom
Pillsbury — “the guy in the middle” — has
done admirably for KGGM-TV.
Any changes or corrections that appear
necessary may then be made on the spot.
One of the more important engineering
problems that was encountered in the
development of the camera was the mat¬
ter of insuring that the image recorded
by both the film and the electronic
camera units would reach each instru¬
ment at the required light level. Lor
example, if a given scene is shot with
illumination of 200 foot candles at a stop
of f/4, the exposure will be the norm
for both the film camera and the elec¬
tronic camera without need for any
compensating adjustments.
In the course of tests made with the
camera by Phil Tannura, A.S.C., on one
of the Jack Benny TV film shows, each
of the three lenses on the camera turret
were shifted into taking position during
the filming of a sequence — each set at
the same f/ stop.
“In comparing the results with footage
shot earlier that day on the same show
with conventional cameras,” said Tan¬
nura, “the only difference noted was
that the dual-camera negative required
a printer-light adjustment of two points
during printing. On the screen, there
was no observable difference in quality.
The test footage was shot with the 40mm,
50mm and 75mm lenses.”
The advantages of this new, two-pur¬
pose camera appear almost endless as
one continues to examine its potentials.
Used solely as a motion picture camera,
it can effect tremendous production
economies by speeding up operation on
sets, since each take is observable on the
monitors by both the director and direc¬
tor of photography.
Used in a two-camera operation, such
as the “Burns and Allen” TV film show,
or a three-camera show, such as “I Love
Lucy,” the economies would be tre¬
mendous. It isn’t hard to foresee the video¬
film camera eventually replacing the
image orthicon television cameras pres¬
ently in use in the major network studios
because, with this camera, it will be pos¬
sible to make first class film records of
a show, replacing kinescopes. Where the
THE VIDEO-FILM CAMERA
(Continued from Page 141 )
R
March, 1955
camera is employed on TV “spectac¬
ulars, there will be recorded simulta¬
neously a first quality color motion
picture negative, from which excellent
prints can be made for subsequent tele¬
casting.
V ith only slight modification, the
camera may be employed to transmit a
live television show in full color, at the
same time recording the show on color
film. Since at present there is no prac¬
tical way for a color kinescope to be
made, and there may not be in the
foreseeable future, this camera easily
solves the problem of obtaining a simul¬
taneous record of color television shows.
When and if practical video tape re¬
cording is developed and employed in
the production of television films, the
video-film camera will be a natural for
recording such programs for pickup and
transmission to the tape recorder, at the
same time providing a film record of the
program, too.
Among those who aided in the devel¬
opment of the camera are the late Art
Reeves, who designed the original reflex
film camera; Robert Nichols, who car¬
ried on with the project following
Reeves" passing; Dwight Warren, who
labored on the optical problems; and
Earl Spicer and Douglas Upton of RCA,
who aided with the electronic phase of
the project. end
This standard model is the power
supply for the camera pull-down at¬
tachment. It is electronically con¬
trolled and can be pre-set at intervals
of one-second to one-minute. Price
$98.00. (Batteries extra). We can fur¬
nish altered models to operate at al¬
most any time range.
DUNNING ANIMATIC
INTERVAL METER
FOR TIME-LAPSE PHOTOGRAPHY
SINGLE-FRAME pull-down attach¬
ments made to fit the Cine Special
or Bo lex H-16.
Price $48.00
Anson Research (o.
4337 CLYBOURNE AVE.
North Hollywood, California
Dry Battery Operated
(Other models for A.C. current and photoflash operation.)
WE DELIVER AND PICK UP
ANYWHERE IN THE U. 5.
Movie-making, stage lighting, feature exhibits,
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for unusual, specialized lighting,
you can depend on
JACK A.
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conventions are lighted dramatically, efficiently
and economically by Jack Frost. Jack Frost's
unequalled national service includes complete
installation and removal . . . wherever you are.
FREE ESTIMATES GIVEN
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! _ I
American Cinematographer
March, 1955
165
PRESTO SEAL
Pro Model Presto Splicer
the invisible butt-weld splicer
No bloops on magnetic film. <C
. . . with new PLUG-IN HEATER BLOCK
ELIMINATES DOWN TIME!
. . replasticized! Eliminates drying out, no
overlap, no cement or scraping, no double
thickness or distortion. Guarantees perfect frame
alignment. No light required.
For all sizes of high speed mag¬
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Sample splice and brochure on request.
PRESTO SEAL S.
3727 33rd st., Long Island City I.N.Y.
RUBY CAMERA EXCHANGE
Rents . . . Sells . . . Exchanges
Everything You Need for the
Production & Projection
of Motion Pictures Provided
by a Veteran Organization
of Specialists
35 mm . 16 mm.
Television
IN BUSINESS SINCE 1910
729 Seventh Ave., New York 19, N. Y.
Tel.: Circle 5-5640
Cable address: RUBYCAM
PROCESSING
Reversal specialists for over a decade.
Our long experience insures superior quality.
Electronically controlled machines keep tem¬
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National "Brilliantone" Cine prints are the finest
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Washington 17, D. C.
“OSCAR” NOMINEES
(Continued from Page 139)
“Executive Suite,” (M-G-M), George
Folsey, A.S.C.
“On The Waterfront,” (Columbia),
Boris Kauffman, A.S.C.
“Rogue Cop,” (M-G-M), John Seitz,
A.S.C.
“Sabrina,” (Paramount), Charles B.
Lang, Jr., A.S.C.
Color
“The Egyptian,” (Fox), Leon Sham-
roy, A.S.C.
“The Rear Window,” (Paramount),
Robert Burks, A.S.C.
“Seven Brides For Seven Brothers,
(M-G-M), George Folsey, A.S.C.
“The Silver Chalice,” (Warner Bros.),
William V. Skall, A.S.C.
“Three Coins In The Fountain,”
(Fox), Milton Krasner, A.S.C.
For the first time in a number of
years, one cinematographer has two
pictures nominated, and thus has a
double chance in the awards. He is
George Folsey, A.S.C., one of Metro-
Goldwyn-Mayer’s top directors of pho¬
tography, who photographed the black-
and-white production, “Executive Suite,
and the color production, “Seven Brides
For Seven Brothers.”
The ten productions named above are
now being voted on by some 1700 active
members of the Academy of Motion Pic¬
ture Arts and Sciences, and this ballot¬
ing will select the best achievement in
cinematography in each class, which will
be announced at the Academy’s annual
awards presentation ceremonies in Holly¬
wood late this month.
The ten contending films were se¬
lected by a process of elimination ballot¬
ing by the industry’s directors of pho¬
tography from a list of more than 50
films nominated by the men who filmed
them, or by their contemporaries.
The Academy’s rules provide that
both foreign and domestic films shall be
eligible for achievement awards consid-
I eration. Early in the year each director
of photography in the motion picture
industry is given the opportunity to sub¬
mit for consideration the name of one
black-and-white and one color produc¬
tion on which he has received single or
joint screen credit as director of photog¬
raphy. In addition each may also sub¬
mit the name of one eligible black-and-
white and one eligible color foreign
production which he deems worthy of
Awards consideration. The productions
thus submitted are then listed on a Pre¬
liminary ballot, which is sent to all
directors of photography in the industry
who vote for not more than ten produc¬
tions in each classification in the order
of their preference (i.e., ten black-and-
white and ten color productions).
The twenty productions receiving the
greatest number of votes from this pre¬
liminary balloting are then screened
and voted upon to select the five best
in each classification. These productions
are then voted upon by the Academy
membership to select the one production
in each classification to be awarded the
Academy’s gold statuette or Oscar
which is presented to the respective
director of photography. All voting is
by secret ballot, and the winners are
known only to the certified public ac¬
countant firm, which is entrusted with
the final tabulation. The final vote re¬
sults are kept secret until the “big night
when the presentations of “Oscars” takes
place.
Although the names of several foreign
productions were submitted in the be¬
ginning for consideration for cinema¬
tography, only one — “The Little Kid¬
nappers — succeeded in making the
Preliminary Ballot. It was eliminated
in the balloting to select the Nominees.
The last time that a foreign production
remained in the running to eventually
capture an “Oscar” was in 1951 when
“The Third Man,” a British production
photographed by Robert Krasker, won
the Academy’s achievement award for
best black-and-white photography. In
1948, two Arthur Rank productions
captured both the black-and-white and
color achievement awards. These were
“Great Expectations” (B&W) photo¬
graphed by Guy Green, and “Black Nar¬
cissus” (Color) photographed by Jack
Cardiff. A.S.C.
Of the nine directors of photography
in the running this year, three are pre¬
vious “Oscar” winners. Charles Lang,
Jr., A.S.C., won his first Award in 1934
for the photography of “A Farewell To
Arms.” Leon Shamroy, A.S.C., won in
1943 with “The Black Swan” (color),
in 1945 with “Wilson” (color), and
again in 1946 with “Leave Her To
Heaven” (color). William V. Skall,
A.S.C., won an Award jointly with two
other cinematographers for the Techni¬
color photography of “Joan of Arc.”
The Academy’s Awards Presentation
ceremonies will take place at the Pan-
tages Theatre in Hollywood the evening
of March 30th. A full account of the
winning films and the men who pho¬
tographed them will appear in the April
issue of American Cinematographer.
Sixteen millimeter motion picture film
and its many applications will be the
special feature of the 77th semi-annual
Convention of the Society of Motion Pic¬
ture and Television Engineers in Chi¬
cago, Ill., April 18th to 22nd.
166
American Cinematographer
March, 1955
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EDITING
(Continued from Page 158)
to do is hold one end against the
beginning of the leader and read off
the figure nearest the other end, which
will give you the screen time to the
nearest second.
When you've gone through all your
shots and have noted the details, put the
him away. The notes are all you need
until the final stages of cutting. Number
your list of shots, decide on your open¬
ing and closing titles, and you’re ready
to begin.
A degree of ruthlessness in throwing
out shots that aren’t up to standard is
essential. Poor exposure, bad focusing,
action jumps, camera jerks, parallax
faults and shots too short to be seen
properly are the principal offenders, and
all the serious cases must be removed.
For the moment it’s just a matter of
deleting the shots from the list.
Next comes the most difficult opera¬
tion — sorting the shots into their best
order. You’ve had the creative element
removed from your belated script, but
to make up for it you’ve got to juggle
with your notes. You’ve seen every shot,
so it’s not as difficult as it sounds. Be¬
sides, most shots dictate their own order,
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167
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The special individual caster locking system
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especially where straightforward narra¬
tive is concerned.
All the same, it can be tricky deciding
how to shuffle a series of scenic shots,
which feature members of the family
strolling from one place to another. Pro¬
viding they walk in and out of each shot
in the same screen direction, you’ve got
complete freedom to put the shots in any
order you like. There can t be any
strict rules for this kind of situation, for
so much depends on individual circum¬
stances.
Incidentally, the question of screen
direction is a most important one in
cutting. When making your notes, make
sure you put down the direction in
which any character enters or leaves a
shot. It doesn't matter in the slightest
what the actual direction was when you
were shooting the scene; all that counts
is the screen direction.
Look at it this way: Supposing you
make a shot of baby crawling along on
all fours. Instead of panning to follow,
you let him crawl out of the picture,
let's say to the left. A few minutes later
you decide to make another shot of baby
crawling a little further on. This time
you take the shot from the opposite
angle, though baby is still heading in the
same direction. But if you let him crawl
in and out of the frame, he will appear
to enter from the left and exit right.
If you splice this shot direct onto the
first, it’ll look as if baby turns round
and goes back the way he came, even
though he actually continues as before.
So note your screen directions and fol¬
low the maxim, “Exit left, enter right.
That’s a rule to which there are no
exceptions, but for the most part shot
order is a question of trial and error.
Splicing and re-splicing film doesn’t do
it much good, but re-arranging a list of
numbers is quick and safe. There are
a few guiding principles, of course. The
problem can be summarized as a ques¬
tion of threads and links.
The ideal film is composed of a series
of sequences, each concentrating on a
single thread. Each sequence flows into
the next by means of a link, which can
also take innumerable different forms.
Threads range from a complex narra¬
tive to a group of shots on one subject
introduced by a suitable title. For ex¬
ample, “The beach has many attrac¬
tions” could tie up a few assorted shots
which won't fit in anywhere else, though
this is the coward’s way out, and should
be reserved for moments of crisis.
Links can be even more difficult, and
should really be thought out during the
filming stage or before. Sometimes the
material can completely defy the editor
who tries to dovetail two totally different
sequences, and his only recourse is to a
title. Often, though, surprising chances
are overlooked. Pictorial links can be
of an astonishing variety. Similar sub¬
ject matter, similar compositions, similar
movements, these are the things to look
for.
You could cut from a close-up of
Junior’s feet paddling in the sea to a
closeup of his father soaking his feet
after an afternoon hike, though you’d be
lucky to find two shots which corres¬
ponded so well unless you’d actually
taken them for the purpose. On the
other hand, a cut from the children
playing with a toy boat, train or car to
a shot of a real boat, train or car might
easily be possible in a few spools of
“odds and ends” footage.
So much, then, for the order of the
shots. After you've satisfied yourself
that your list of numbers can’t be im¬
proved, the question of timing arises. If
you’ve any mammoth shots running over
25 seconds, you’ll need to intercut them
with other shots or whittle them down.
Be careful, too, of the comparative
lengths of closeups, medium shots and
long shots. A very approximate guide
is that average closeups should last about
5 seconds, medium shots about 8
seconds, and long shots about 12 seconds.
Use short shots if you want to build
up a little excitement or tension. They’re
best for comedy, too. But for calm,
placid material, concentrate on longer
shots. The ideal is a combination of the
two, inter-related as the mood of the
film changes.
Rather surprisingly, you'll find you
can judge tempo on your shot list quite
satisfactorily after a little practice. When
you’ve noted the length you think suit¬
able for each shot against its number in
the order list, you’re ready to cut the
film according to your schedule.
Frankly, you’ll be lucky if your first
assembly is perfect. You'll almost cer¬
tainly find a few things that need tight¬
ening up or re-arranging. But you will
have done all the donkey-work much
quicker than usual — and you won’t have
harmed a frame of film in the process.
SPLICING WITH TAPE
(Continued from Page 152)
staple or stitch splices. Tape splices are
also useful for negative repairing,
whether the damage be a broken per¬
foration or a broken film. And in the
16mm field the utility of tape splicing
may be even greater than for 35mm
applications.
During the course of this work we
have been in contact with tape and splicer
manufacturers. Many have shown inter¬
est in developing further the materials
and equipment needed for tape splicing.
And the Du Pont Company is ready to
cooperate with any who wish to par¬
ticipate in this development. end
]6R
American Cinematographer
March. 1955
FRANK C. 2UCKER
(TnnieRfl ^ouipmenT (o.
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The Professional Film Viewer makes
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PHOTOGRAPHY OF
“EAST OF EDEN”
(Continued from Page 149)
cases were stocked with the type of
merchandise in use during that era.
All this took very careful research.
Research department heads spent sev¬
eral weeks in Salinas gathering old
photographs and information from the
citizenry about the town as it was prior
to our entry into World War I. The in¬
formation gave authenticity and vermi-
similitude to the recreation of 1917
Salinas at the studio as well as to the
staging and photographing of such
events as thet World War I parade.
These locales represented the key sets
and scenes of the picture on which di¬
rector of photography McCord focused
his attention in the early stages of
planning the photography. The venera¬
ble facades of the World War I era. the
simple life of those days, the sedate
decor of interiors of the day — all these
factors had a bearing on the photo¬
graphic approach that was to be given
the production.
The picture is not long on the screen
before the striking artistry of McCord’s
cinematography comes sharply to one’s
attention. It is reminiscent of the imag¬
inative camera work that marked
“Johnny Belinda,” which won McCord
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American Cinematographer
March, 1955
169
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an Academy Award nomination in
1949.
Perhaps the most startling innovation
is the way he tilted or angled the
CinemaScope camera in order to
achieve a more compelling composition
when shooting the dramatic scene where
the father is having a heart-to-heart talk
with his troublesome son. Cal. The two
are seated at the family dining room
table — the father at the far end, and
son at the side, in left foreground. To
bring the two dramatically into prom¬
inence in a tight, wide-screen closeup,
McCord moved his camera around to
place the table diagonally in the Cine¬
maScope frame, then tilted the camera
to one side so that the wide rectaugular
area of the CinemaScope frame would
tightly fit the composition. In this way,
the father was given visual dominance
in the scene that could not have been
accomplished in any other way. It is
something that never before had been
tried with the CinemaScope camera, un¬
doubtedly because of the ultra wide¬
screen format. McCord’s imaginative
treatment here sets a pattern sure to be
followed by others.
He used the tilted camera technique
in still another scene, too. Later in the
picture, there is a shot of Cal swinging
in a garden. Instead of shooting the
scene head on, with the boy swinging
alternately toward and away from the
camera, McCord set up his camera a
little to one side, so that the wide
CinemaScope frame encompassed the
arc of the swing, keeping the boy in
fairly close focus. As the boy swung
forward, the camera, mounted on a free-
head, was angled and tilted to keep the
swing action within the frame, giving
an unusual photographic effect to the
scene.
This is the type of imaginative pho¬
tography which director Kazan invited
of McCord when he gave him free rein
to develop bold new treatment in the
filming of “East of Eden.” Kazan would
often call McCord to one side and tell
him. “If you see something you can do
to improve this scene, I want you to do
it. Figure it out, then call me when
you’re ready.”
Although it was Kazan who in the
beginning sought the bold, the realistic
and the unconventional treatment in the
photography of “East of Eden,” it was
Ted McCord who more than once, hav¬
ing caught the spirit of the thing from
Kazan, steadfastly held to the credo first
established by him. “You’ve got to be
bold, and brave, too, to work with
Kazan.” said McCord, “for he’s that
kind of a man himself.” So when Mc¬
Cord chided him at one time for want¬
ing to shoot scenes “both ways for pro¬
tection.” Kazan was persuaded to follow
the bold and unconventional camera
treatments which the daily rushes had
already shown to be highly successful.
“East of Eden” is punctuated with
many unusually dramatic photographic
treatments about which limited space
precludes describing here. But there is
another instance where McCord’s imag¬
ination paid off that resulted in a simple
effect, obtained in a method that is al¬
most as old as cinematography itself.
Kazan wanted a “spooky” effect in the
photography where the camera was to
capture action of the boy Cal in his
bedroom. McCord suggested shooting
the scene through the bedroom window
and through the transparent netting that
was the window curtain — with an off¬
stage fan gently blowing the curtain to
and fro as if it were moved by a gentle
breeze. The pictorial effect is most un¬
usual and lends just the right atmos¬
phere to a scene that begins a new
dramatic phase of the picture.
In the very beginning — before actual
shooting of the picture began — McCord
made a number of pre-production tests
to determine the most appropriate colors
for the key sets, colors that would be in
keeping with the precise mood director
Kazan felt was so necessary to the mo¬
tivation of the story theme. For mood
was a highly important factor in this
picture, a factor that was to underscore
the unusual personality of Cal, the
strong feelings of the father, and the
moods of Cal’s brother Aron and his
sweethetart Abra. No less important was
the strong pictorial mood that would
give the brothel interiors the evil and
foreboding aspect so necessary to back¬
ground the action that takes place there.
Here a unique method was followed.
A number of flats were painted or dec¬
orated with wallpaper. Then they were
photographed in pairs on the test stage
by McCord. The flats were paired in
contrasts and were photographed under
different lighting schemes. The test foot¬
age was viewed in the projection room
and it was here that the art directors,
and Kazan and McCord mutually de¬
cided on the most appropriate color
patterns and lighting for the various key
sets. Here again, the trend was awav
from the conventional — the “formula”
procedures. There was to be no set ratios
for the lighting. Color, and mood estab¬
lished through light and shadow, keyed
the photographic treatment throughout
the picture, even to the most insignifi¬
cant shot — if it can be said that there
was such a thing in “East of Eden.”
And while we’re on the subject of
interiors, special mention should be
made of one scene in particular, the
hall in Kate’s gambling house, because
a great deal of tense action takes place
there; but more important — because it
is lit with a single lamp— a 10-K. This
was placed at the far end of the hall,
facing toward the camera. As the play-
170
American Cinematographer
March, 1955
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ers move forward toward thte camera
(in search of the door leading to the
mother’s “office”) they appear in sil¬
houette. Still, there was a measure of
modelling achieved through some of the
light from the 10-K lamp, which was
reflected by the highly varnished walls
and floor of the hall. It was an ingenious
treatment of a seemingly impossible
lighting situation.
Holding to his credo for genuine real¬
ism in the photography of “East of
Eden,” director Kazan early in the plan¬
ning of the picture indicated he wanted
no process shots of any kind. In the shots
of Cal riding atop a freight car of a
moving train, the CinemaSeope camera
was mounted on top of the car and the
shots made as the train moved through
a stretch of countryside. It was while
making these shots that McCord and his
crew, along with the costly camera, were
almost swept off the freight car as it
passed under a low bridge. The crew
had been too engrossed in attending the
camera to notice the train’s rapid ap¬
proach toward the bridge. Fortunately,
the camera cleared the bridge by a scant
three inches, and all in the crew escaped
without a scratch.
An interesting problem was encoun¬
tered when the company was shooting
exteriors where action takes place in a
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American Cinematographer
March, 1955
171
CAMERA TRICKS
(Continued from Page 160)
field covered with wild mustard in
bloom — a beautiful scene pictorially,
which enhanced the mood for the ro¬
mantic action; here Abra first reveals
her interest in Cal. Despite the great
caution taken to prevent trampling of
the mustard, the studio greens man was
kept busy replacing the trampled mus¬
tard with fresh, upright plants dug up
in an adjacent field. As with so many
wild plants, mustard will not take to
transplanting, and as a result the trans¬
plants wilted within minutes. The scenes
were finally shot by delaying the trans¬
planting until all rehearsals had been
completed, then, when the scene was
ready to take, the trampled plants were
replaced, the action started, and the
camera ordered to “roll.’'
One of the most extensive phases of
the photography involved the scenes of
Cal and Abra in a gondola atop a Ferris
wheel in an amusement park. For this
sequence, Warner Brothers erected a
Ferris wheel on the studio lot, where
shooting could proceed without the in¬
terference that normally would be en¬
countered were the action shot in an
amusement park. Here is another ex¬
ample of Kazan disdaining the process
shot in favor of “the real thing.'" An¬
other producer, perhaps, would have
played the action on the sound stage
against a process background.
To elevate the camera, the giant cam¬
era crane Disney employed in filming
“20,000 Leagues Under The Sea" was
used. To provide similar mobility for the
sound recording equipment and mike
boom, a telescoping parallel on a city
power company truck was brought in
and the sound equipment mounted on
its elevator platform, as shown in the
photo on page 148. To elevate the nec¬
essary lighting units above the top of
the Ferris wheel, a giant construction
crane was brought onto the lot. From
the end of the crane a sturdy platform
was suspended and the lamps mounted
on it; the power cables were strung up
overhead to the supporting cable and
thence down the crane to the supply
source on the ground.
Mention should be made here of the
judicious way high and low camera
angles are used throughout the picture;
they are not overworked, with the re¬
sult that when they are used, they give
unusual dramatic impact to the picture.
Perhaps the most emphatic thing
photographically one feels in observing
“East of Eden” on the screen, is that it
is an outstanding example of the camera
used with proper emphasis. At no time
do the photographic mechanics nor the
“new look” that marks CinemaScope in¬
trude; rather they add vividness to the
interpretation of the script and point up
the subtle shadings that are so im¬
portant in this strong dramatic film of
moods and unusual personalities. END
of sturdy strap iron, which has a hole
drilled at either end to take the tripod
and camera screws.
Using the camera thus, the scene is
shot normally. After the film is proces¬
sed and ready for editing, the upside-
down scene is cut out, turned right side
up, and spliced in its proper place in the
film continuity. V hen the film is pro¬
jected, the action in the upside-down
shot will appear in reverse.
The old cliche in the use of this type
shot (and one that is still good for a
laugh in comedies and sports films) is
that of the diver who suddenly rises
from the water and flips himself up on
the springboard. Variations of this trick
offer fine comic possibilities when
specially tailored to fit the film story.
It can be used in professional films,
such as TV commercials, too. Let us
consider a spot TV announcement for a
breakfast food. The subject is first
filmed eating heartily from a dish
stacked high with the breakfast food.
SPECTRA Brightness Spot Meter with iris and
external meter calbrated to read directly in
color temperature.
A New Improved Spectra Brighness
Spot Meter has been announced by Photo
Research Corpn., 127 W. Alameda Ave.,
Burbank, Calif. The meter is employed
in the motion picture industry to evalu¬
ate minute areas of lighting on motion
picture and television sets, theatre
screens, etc. The new model will also
evaluate color temperature for color
photography.
Developed from Photo Research
Corp.’s long experience in the design,
manufacture and application of ex¬
posure meters, densitometers, color tem¬
perature meters, filters and other pre¬
cision photographic and photometric
instruments, the Spectra Brightness
meter is the first instrument of its kind
which completely eliminates the human
factor in evaluating light.
When finished, subject goes out into the
garden; then, with a mighty leap he
bounds to the top of the garden wall —
to demonstrate the vigor the breakfast
food gave him, of course! To produce
the shot of the amazing jump to the top
of the garden wall, the subject is filmed
jumping down from the wall — with the
camera mounted upside down. The
scene, of course, is turned end for end
in the editing.
You can employ this same technique
to photograph action that would other¬
wise be dangerous or difficult to stage —
such as the famous vaudeville knife¬
throwing trick, or shooting an arrow and
making it appear to hit the center of
the bull’s eye. In the latter, the camera
is mounted upside-down, and the arrow
plunged into the bull’s eye of the target.
A sturdy thread is attached to the arrow,
and as the camera is started, it is pulled
by someone off stage — causing the arrow
to fly out of the target. The scene turned
end for end, and properly trimmed to
The instrument measures the bright¬
ness of a small spot from a remote
location. This brightness is indicated di¬
rectly on the instrument dial in footlam-
berts. Any operator will secure the same
reading of a given light condition, since
the unit is completely independent of
the sensitivity of the user's eye, and
requires no time-consuming manual
matching of brightness.
All this is accomplished through the
use of a vacuum phototube, electrometer
tube amplifier and microammeter. The
telescopic sight of the instrument forms
a magnified image of an area approxi¬
mately five times the diameter of the
area measured. A circle in the center of
the reticule indicates the exact area
measured.
No external source of power is re¬
quired to operate the instrument other
than the small battery pack supplied
with it.
An auxiliary attachment is used to
permit the Spectra’s use in evaluating
color temperature.
In addition to its many applications
in the motion picture and television in¬
dustries. the Spectra's use has recently
been extended to a wide number of
industries for measuring illumination
brightness, brightness of reflected light,
and the effectiveness of lighting on in¬
strument panels of aircraft, according
to Karl Freund, president of Photo Re¬
search Corp. END
Spectra Meter Now Measures Color Temperature
172
American Cinematographer
March, 1955
eliminate the static frames before the
arrow action begins, appears on the
screen with the arrow entering the scene
and plunging into the bull’s eye. The
knife-throwing trick is done the same
way, with threads tied to the knives and
the knives pulled out of the wall one by
one by a person out of camera range.
Here careful camera placement is vital
to eliminate picking up the threads in
the scene.
The upside-down technique also can
he used to make trick effects in movie
titles, such as those where the words of
the title appear to be washed up on
shore by a wave, or titles which appear
to materialize from a pile of scrambled
child's blocks.
Double-exposure — Double-exposing
two or more scenes on the same length
of him is a trick that has been widely
used in professional him making, and it
holds a number of interesting applica¬
tions for the amateur, as well. In many
of the hlms based on fantasy, dream
sequences are often used to convey the
hidden thoughts or emotions of a specihc
character. By double-exposing shots of
the character over exaggerated scenes or
situations, the idea of unreality can be
brought home quite forcibly.
The mechanics of producing double-
exposed shots are basically simple. The
two separate scenes are carefully planned
in advance so that the compositions of
each will complement each other, rather
than clash. The first scene is exposed,
then the film is wound back in the
camera to the start of the scene. The
second scene is then exposed for the
same period of time or number of
frames. Here, careful exposure control
must be maintained so that the two
scenes will balance in density and
quality.
To achieve the best effect, the princi¬
pal scene of the two should be lighted so
that it contains a substantial dark area
over which the second scene will be
exposed. The subordinate scene should
be played against a completely black
background, thus eliminating any dis¬
turbing clash of backgrounds of the two
exposures. A typical scene of this kind
would be that of a person dreaming,
with the second exposure showing what
he is dreaming. The person should be
placed low in the picture frame, with
the lighting subdued and concentrated
on him. The upper part of the frame
should be left dark. Over this area, then,
the superimposed image is photographed.
As a guide, the area limits should be
marked in the finder, where feasible.
Where a ghost image effect is desired,
the subordinate scene is under-exposed
about one-half stop, and thus will appear
somewhat transparent, with the principal
scene showing through. This technique
can be used, not only to produce a ghost
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illusion, but to show a subject talking to
his own conscience, etc.
Double-exposing color film is rela¬
tively difficult, since it involves the prob¬
lem of color mixing and because addi¬
tional exposure affects the colors in the
scene first exposed. But where double¬
exposure is to be employed in making
color titles, bold, white letters given
sufficient contract to “burn through’’ can
be superimposed quite successfully over
scenes photographed in color.
Because of the more precise control
the method offers, double-printing is
often employed, where double-exposure
proves unsatisfactory. This is a labora¬
tory procedure in which the two scenes
are first exposed on separate lengths of
film, and are then combined through
optical printing by a commercial film
laboratory. The great advantage in this
method is that a greater degree of ex¬
posure control can be exercised in bal¬
ancing the scenes in the laboratory to
produce more uniform quality and
density in the final print.
Next month, we shall discuss addi¬
tional camera tricks which the cine
cameraist can make, thus giving his films
a measure of professional polish. end
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American Cinematocrapher
March, 1955
173
COLOR-TELEVISION FILM SHOOTING PRACTICES
(Continued from Page 142)
chrome receivers. The following staging
recommendations were formulated with
these considerations in mind:
1. Flesh tones of performer's shoul¬
ders, arms arid back should match facial
make-up. Normal variations from per¬
former to performer are permissible.
2. Costumes and backgrounds of the
same hue or luminance as flesh tones
will result in loss of perspective, partic¬
ularly on monochrome receivers, and
the performers will not stand out from
the rest of the picture.
3. In shooting successive scenes at
different angles and, more particularly,
at different times, great care must be
taken to see that the colors of costumes,
background, and make-up are identical
to those photographed in earlier takes.
The chances of having glaring incon¬
sistencies between takes is much greater
when color is used.
4. Backgrounds low in color satura-
iton, matte-surfaced and of medium
luminance will help avoid reflection of
colored light onto other parts of the
scene being photographed with conse¬
quent color contamination. In addition,
it provides better contrast between fore¬
ground and background objects as seen
on both color and monochrome receivers.
5. Background-to-subject reflectance
ratios lower than 1 to 1^/% will destroy
all illusion of depth, particularly for
monochrome viewers.
6. Close-ups should be emphasized
arid tightened about 15% as compared
to practices for monochrome television
in order to obtain equivalent fine detail.
Even in shooting film for black-and-
white television some producers have
failed to keep their shots tight enough.
In color the need for following this
practice is even more important be¬
cause of the somewhat lower resolution
capabilities of the color television system.
7. Long shots, busy background and
small detail, suffer even more in the
color television system than they do in
black-and-white. It is recommended that
they be used sparingly and primarily to
establish locales for special effects.
As is well known, the hue saturation
and luminance (brightness) of any sur¬
face depend not only upon the reflect¬
ance characteristics of the surface itself,
but also upon the nature of the light
striking the surface. Whereas in mono¬
chrome photography the color of the
light has only secondary effects on gray-
tone rendition, in color photography va¬
riations in the color of the illumination
can seriously affect the fidelity of color
reproduction.
Effective lighting is a valuable aid in
preserving an illusion of three-dimen¬
sionality on a two-dimensional viewing
surface. Where the final result is viewed
only in color, color contrasts may be
relied upon to achieve the desired re¬
sult. However, in television, where
monochrome viewing of color film is
also involved, consideration must also
be given to achieving perspective with
luminance (brightness) contrasts alone.
Finally, since both color-film and color-
television systems can accommodate only
a limited contrast range, it is important
that measurable factors (light levels, set
and costume reflectance, film character¬
istics, etc.) be accurately determined
and precisely maintained within the
proper operating range in order to in¬
sure satisfactory and consistent results.
Such latitude as is available should be
relied upon to offset expected errors and
variations in shooting and processing
rather than to permit careless work.
1. Color temperature of all lighting
sources should be checked and main¬
tained at the specified value — usually
3200 K for color film intended for in¬
door shooting. Light sources should have
a smooth spectral distribution, (e.g., in¬
candescent lamps and color corrected
arcs ) .
2. Light sources of different types
may be intermixed provided they have
similar energy distribution spectrums
and are color corrected to within 100 K
of the standard value. Variations be¬
yond the 100 K limit result in notice¬
able color shifts as the subject is viewed
from different angles or moves from
under one light source to another. Con-
Animatic power supply and interval meter
which actuates camera-pulldown attachment.
A New Departure in intervalometers
for time-lapse cinematography employs
electronics to trigger the camera release
instead of a mechanical device. Market-
sequently, little use can be made of
dimmers to control the brightness of
incandescent lamps.
3. Light sources for background il¬
lumination need not be balanced so
precisely provided no objects whose
colors are familiar to the viewers are
included in the background.
4. Ideally, key-light to fill-light ratios
in the vicinity of 1%> ^ an> ^ absolute
key -light levels of at least 600 ft-c should
be maintained. Larger ratios may be
used sparingly to obtain desired effects,
and are, of course, encountered in out¬
door shooting. They are likely to result
in very contrasty pictures when the film
is viewed on a color-television system.
Lower absolute light levels may produce
too shallow a depth of focus.
5. Uniformity of lighting in the play¬
ing area is essential. Small variations in
illumination can result in exaggerated
deviations in the fidelity of color re¬
production.
6. Flat lighting, although easy to use.
results in lack of modeling, and destroys
the sense of space between objects, par¬
ticularly when viewed over monochrome
television system.
7. High key -lighting results in the
most consistently pure color reproduc¬
tion. Low key-lighting is far less pre¬
dictable in color and tends to give a
muddy reproduction.
8. Subject contrast as determined by
a spot-brightness meter should not ex¬
ceed 20 to 1. This value is in keeping
with the capabilities of the present-day
color-television system.
9. Exact reproducibility of lighting, as
to lighting ratios, color temperatures
and direction of light , is essential to re¬
duce a minimum shot-to-shot and scene-
ed by Anson Research Co., North Hol¬
lywood, Calif., the Dunning Animatic
Interval Meter will will operate cine
cameras for single exposures at inter¬
vals ranging from one to sixty seconds.
As with many devices of this kind,
there are no wheels, cogs or clockwork
involved. An electric charge is built up
within the Meter and released at the
interval desired. This is directed to the
camera pull-down mechanism, which is
the only mechanical device involved.
The Dunning Animatic Interval Meter
may be had to operate on dry batteries,
A.C. power, or photoflash.
Single frame pull-down attachments
are presently available for use with the
timer in time-lapse photography with the
Eastman Cine Special and the Bolex
H16 cameras.
Animatic Timer For Time-lapse Photography
174
American Cinematographer
March, 1955
to scene variations. Accurate and reli¬
able incident-light and spot-brightness
meters are recommended, the former for
setting lighting levels and the latter to
control contrast. Detailed lighting plans
of the entire shoooting area are also
recommended.
For a given lens aperture, and assum¬
ing conventional motion-picture cameras
are used, presently available color film
requires approximately three times the
light level that is necessary for obtaining
an optimum output signal from a color-
television camera. The effective speed
of a color-film camera system may be
said to be only one-third that of a color-
television camera system and about one-
tenth that of a black-and-white television
camera. Identical lenses may be used for
television and for 35mm film cameras.
Thus, in order to obtain the same depth
of focus in color motion pictures as in
color-television pictures, it would be
necessary to employ three times the
light level used in color television. Since
this would entail lighting levels in the
vicinity of 1000 ft-c, it is not generally
feasible to follow this procedure. In¬
stead, lighting levels approximately
twice those used in color-television work
are used and the remaining difference
made up by employing larger lens aper¬
tures. Consequently, the depth of focus
of color motion pictures produced in¬
doors is generally less than that obtain¬
able from a color-television camera.
In addition, the performance of a
motion-picture camera cannot be as
readily checked as can that of a tele¬
vision camera. The television camera
may be trained on a test chart and its
performance determined in a few min¬
utes by measurement and observation.
The motion-picture camera, on the other
hand, can only be checked by exposing
test film, waiting for it to he processed
and usually after a day or more the re¬
sults are obtained, at which time the
process may have to be repeated. This
is unfortunate since, despite their rela¬
tive simplicity, motion-picture cameras
often develop faults that adversely affect
the end result.
The camera checks outlined below are
undoubtedly standard operating proce¬
dure for the professional cameraman
who has worked with color film. They
are. however, reiterated for the benefit
of the reader who may not realize how
small a latitude for error is permitted
by color film. The need for carefully
checking the performance of a camera
and its associated lens under actual
operating conditions cannot he over¬
emphasized.
7. Complete focusing tests should be
run on all cameras and with all lenses.
Since, at best, the depth of focus is lim¬
ited, the distance calibration of all
lenses in all cameras should be accu¬
rately known.
2. The accuracy of the range finder or
visual focusing attachment, if used,
should also be determined.
3. The accuracy of the viewfinder and
the existence of any parallax errors
should also be determined, particularly
since many close-ups are likely to be
involved.
4. The flatness of the field of all
lenses should be checked as a function
of aperture. No reliance should be
placed upon the lens simply because it
bears a prominent name.
5. The depth of focus of the equip¬
ment should be accurately ascertained.
Where a follow-focus arrangement is not
available, it may be necessary to raise
the lighting level and reduce the aper¬
ture until an adequate depth of focus is
obtained to cover the action.
6. Any detectable jump or weave in
cameras should be eliminated. The
skill and precision with which a partic¬
ular camera is built and subsequently
maintained largely determines the per¬
fection of its performance.
Where program material from color
motion-picture film is intended to be
comparable in quality to that obtainable
from a color-television camera, 35mm
film should be used. For broadcasting
stations not equipped to handle 35mm
film, reduction prints from 35mm orig¬
inals should be provided. This recom¬
mendation is made because, although it
is possible to make reasonably satisfac¬
tory prints from 16mm originals, in
practice they are few and far be¬
tween. Whereas Type 5268 Kodachrome
Commercial Film is capable of produc¬
ing a 16mm original that televises well,
duplicates made from such originals are
not of equal quality.
7. Eastman Type 5248 Color Negative
Film is capable of producing 35mm
originals from which satisfactory color
prints can be obtained.
2. Eastman Type 5382 Color Print
Film is suitable for producing satisfac¬
tory 35mm color release prints.
3. Eastman Type 7382 Color Print
Film has been successfully used for the
production of 16mm reduction prints in
color.
4. Exposure tests of the particular
batch of film to be used in a given pro¬
duction should be made under actual
operating conditions . This should include
the lighting, the camera, the lenses and
the processing laboratory that will han¬
dle the final film.
5. In critical work each job should
be treated as if it were the first, since
changes can occur in the film because
of improper storage conditions. Cameras
can develop troubles and lenses can be¬
come damaged.
6. A slate containing, in addition to
the usual information, a standard gray
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American Cinematographer
March, 1955
175
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scale and color patches should be a part
of every test and production shot. These
slates should be carried through to the
finished prints and the gray-scale steps
should be large enough to permit the
making of densitometer measurements.
7. The processing laboratories should
be required to tag every piece of film
with their own brand of sensitometer
strips and these test strips should re¬
main on the film when it is delivered.
Obviously a sufficient length of unex¬
posed film must be provided to allow
the laboratories to meet this require¬
ment.
8. Although the standards of the sev¬
eral acceptable processing laboratories
differ from each other, continuous checks
should be made to ascertain that any
given laboratory is producing consistent
results. In general, because of the non¬
existence of industry standards, direct
correlation cannot be made between the
data obtained from the measuring meth¬
ods employed by the various labora¬
tories.
9. A contrast range of 20 to 1 should
be used as a target for the final print.
This goal is recommended despite the
natural tendency, resulting from direct
viewing, to produce prints that, from
a television standpoint, have execessive
contrast ranges.
10. The density of the highlights on
finished prints should be as low as pos¬
sible, consistent with retaining signifi¬
cant highlight detail. Glint lights and
spectral reflection from jewelry, musical
instruments and other highly polished
objects should not be considered as “sig¬
nificant” highlights in determining
highlight density.
11. Jump and weave introduced by
poor printing machines should be
guarded against by critically sampling
all release prints delivered by the proc¬
essing laboratory.
12. Experience indicates that consid¬
erable care must be exercised in color-
correcting the print released for tele¬
vision transmission. Although some com¬
pensation for color inaccuracies may be
obtained in the television system, it must
be realized that it is not feasible to make
seene-to-scene adjustments during film
transmission.
13. Satisfactory black-and-white prints
can be obtained from color film. Until
a substantial number of television sta¬
tions are equipped to transmit color film,
it may be desirable to utilize black-and-
( Continued on Page 17S)
Future Television Film Producers?
HAVING borrowed the equipment used by their dad, Bill Benesch, director of film photog¬
raphy for WKRC-TV, Cincinnati, Ohio, sons Jamie (at sound controls), Mike (behind the
camera), and Bill, Jr., making like a director, play at shooting a television film. The
camera’s an Auricon Cine-Voice single-system 16mm sound camera which Bill, Sr. regularly
uses in shooting TV films for WKRC-TV.
176
American Cinematographer
March, 1955
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format 90c per line. No discount on classified advertising. Send copy with remittance to editorial office, 1782 No. Orange Drive, Hollywood
28, Calif. Deadline 15th of month preceding date of issue.
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TRADES TAKEN Phone PL 7-0440 Dept, fc
Cable; SOSOUND
S.O.S. CINEMA SUPPLY CORPORATION
602 W. 52nd Street, New York 19.
FOR SALE
LENS CLEARANCE!
For 8mm Cameras —
20mm Goerz Hypar f3...- . $ 4.95
l'/j" Dallmeyer fl .9 . . . . 29.50
35mm Wollensack f3.5 . 9.95
For 16mm Cameras —
50mm T.H. Kinic f3.5 . 22.50
40mm Zeiss Tessar f2.7 . 22.50
75mm Trioplan f2.9 . 29.50
50mm Goerz Hypar f2.7 . 37.50
114mm Kodak f4.5 . 22.50
50mm Wollensak f3.5 . 17.50
6" Dallmeyer f4.5.... . 39.50
6" T.H. Cooke f4.5 . 37.50
10" Dallmeyer f5.6 . 49.50
6" Eyemax f4.5 for Eyemo . 32.50
Mail orders promptly filled.
Camera Craft 42nd St., Inc.
18 E. 42nd St., N.Y. 17, N.Y.
WE ALWAYS HAVE BARGAINS
in Professional 35 & 1 6mm equipment.
CAMERAS — LIGHTS
MAGNETIC and OPTICAL
RECORDERS and PLAYBACKS
MOVIOLAS — DOLLYS — BOOMS
Send for our constantly changing list.
Hundreds of Other Production Items.
Write — Wire — Phone
CINEMA SERVICE CORP.
106 West End Avenue. New York 23, N.Y.
TRofalgar 3-1411
FOR SALE
NC MITCHELL camera (Serial 284), good condition,
now in daily use in Hollywood studio production,
for sale with following accessories: six coated
Baltar lenses — 25mm T/2.5, 30mm, T/2.5, 35mm
T/2.5, 40mm T/2.5, 50mm T/2.5, and 75mm
T/2.5; filter holder and case; erect image view¬
finder with built-in mattes; finder support bracket-
reducing finder adapter lens; combination matte
box and sunshade; wide-angle matte box; variable
diffuser, standard size friction tilt-head; standard
size tripod; 110-V, AC/DC variable speed motor;
camera carrying case; accessory case. BOX 1203,
AMERICAN CINEMATOGRAPHER.
HOUSTON 35mm Model N-l Processing Machines,
completely reconditioned and guaranteed for Nega¬
tive and Positive developing. Dark room opera¬
tion. Stainless steel construction. Fully temperature
controlled unit. HOUSTON 16mm Model K-l-A
Processing Machines. Completely reconditioned and
guaranteed. For Negative, Positive and Reversal
developing. Daylight operation. Portable. Stainless
steel construction. Fully temperature controlled unit.
Write for details to FOTO CORPORATION OF
NEW JERSEY, 408 Communipaw Ave., Jersey City 4,
N.J. Tel. HEnderson 4-3207.
BASS . . is headquarters for Arriflex 16; the new
Zoomar 16; Cine Specials, all models; Bell &
Howell 70-DL; Bolex H-16. Used Cine Special I, 1"
F: 1 .9 lens and carrying case $395.00. Used H-16
Bolex, 1" F: 1 .5, 0.7" F: 2.5 W.A., 3" F: 3.5 $347.50;
Used Bell & Howell 70-DA 1" F: 1 .9 4" F.-4.5
$235.00. Used Bell & Howell 70-A, 1" F.-3.5 and
case $52.50; Used 200' Chamber Cine Special
$295.00; Used 100' Chamber, Cine Special $117.50.
Best buys . . . Best trades always. BASS CAMERA
CO., Dept. AC, 129 W. Madison St., Chicago, 2, III.
SURPLUS Sale! Laboratory converted to 1200 foot
length offers surplus unexposed 400 foot 16mm
rolls Eastman type 7302 sound stock $2.20 each
and 200 foot 16mm type 7372 sound recording
on camera spool, $1.60 each. Suitable for experi¬
mental printing, recording or leader film. Manu¬
facturer's packing, seals unbroken. Postpaid, cash
with order only. PHOTOGRAPHIC TECHNICIANS,
INC., 308_ Second Avenue, South Charleston 3,
West Virginia.
WALL S. S. 35MM. SOUND CAMERA
COMPLETE with Galvanometer, amplifier, portable
power supply, 40-50-75 and 100mm. lenses, erect
image viewfinder, complete front attachments, two
1000 ft. magazines. Balanced Tripod, necessary
carrying cases. Overhauled. Guaranteed perfect.
Reasonable.
CAMERA EQUIPMENT COMPANY
1600 Broadway New York 19, N. Y.
KINESCOPE Recording Camera, custom built, has
1/30 sec. shutter (gets ALL the scanning lines),
Auricon galvanometer, Auricon 1200 ft. magazine,
Kodak Fl .9 1 " lens, AC powered noise reduction
amplifier. $650.00. Synchronous Magnetic recorder
and 5000 ft. 16mm single perf. magnetic film.
$550.00. PACIFIC ELECTRONICS, 912 North 90th
St., Seattle.
BELL & HOWELL 70-H camera with accessories, in¬
cluding 5 lenses, 5 objective viewfinders, two
400-ft. magaines, synch, motor and 12-volt wild
motor with batteries. Cases for everything. Used
only two weeks. Sell only as complete outfit. Cost
new almost $2000. Will sell for $995.00. H. WIL¬
LIAMS, 8021 Radford Ave., North Hollywood,
Calif. Phone POplar 5-8475.
AUDIO AKELEY single system camera complete with
Akely sound head, Gyro tripod, 3 lenses, view
finder, Maurer mixing amplifier. Complete with
cables, power supply and W. E. microphone.
CAMERA EQUIPMENT CO., 1600 Broadway, New
York 19, N.Y. Cable: Cinequip.
PRECISION Magnetic Heads for Engineers - Industry
Erase - Record - Playback
STANCIL-HOFFMAN CORPORATION
921 North Highland Avenue
Hollywood 38, California
WE BUY, SELL AND RENT PROFESSIONAL AND 16mm
EQUIPMENT, NEW AND USED. WE ARE DISTRIB¬
UTORS FOR ALL LEADING MANUFACTURERS. RUBY
CAMERA EXCHANGE, 729 Seventh Ave., New York
City. Established since 1910.
CINE SPECIAL with Par 4-lens turret; also Cine
Special II and full set Ektar lenses. Write BOX
385, Waukesha, Wisconsin.
WANTED
WE ALWAYS PAY THE VERY TOP
WHETHER YOU CONSIGN, SELL OR SWAP
AT THE S.O.S. TRADING POST
Cameras, Dollies, Lenses, Lights,
Moviolas, Printers, Recorders,
Studio or Lab Equipment
Western Union-WUX New York,
Phone PL 7-0440
S.O.S. CINEMA SUPPLY CORPORATION
Dept, fc Cable: SOSOUND
602 W. 52nd Street New York 19, N. Y.
IMMEDIATE CASH PAYMENT FOR
CAMERAS AND EQUIPMENT
NEED EYEMOS (SINGLE LENS AND TURRET)
MITCHELLS, ARRIFLEX, DE BRIES, B&H STANDARDS
AND HI -SPEEDS, WALLS, AKELEYS, CINE SPECIALS,
AURICONS, MAURERS, FILMOS. ALSO BALTARS,
COOKES AND OTHER LENSES. SOUND STAGE
LABORATORY AND EDITING EQUIPMENT OF ALL
TYPES REQUIRED. PLEASE SHIP INSURED OR FOR¬
WARD DESCRIPTIONS AIRMAIL. IMMEDIATE PAY¬
MENT.
GORDON ENTERPRISES • 5362 N. Cahuenga
NORTH HOLLYWOOD, CALIFORNIA
WANTED TO BUY FOR CASH
CAMERAS AND ACCESSORIES
MITCHELL, B&H, EYEMO, DEBRIE, AKELEY ALSO
LABORATORY AND CUTTING ROOM EQUIPMENT
CAMERA EQUIPMENT COMPANY
1600 BROADWAY, NEW YORK CITY 19
CABLE: CINEQUIP
F & B PAYS MORE
FOR USED 16/35MM EQUIPMENT
WRITE — WIRE — PHONE
FOR OUR CASH OFFER
FLORMAN & BABB MU. 2-2928
70 W. 45TH ST. NEW YORK 36, N.Y.
WANTED
Mitchell - — Akeley — B&H- — - Wall — Eyemo
Cameras — Lenses — - Equipment
NATIONAL CINE EQUIPMENT, INC.
209 West 48th St. New York, N.Y.
WANTED
PRODUCTION EQUIPMENT, LABORATORY EQUIPMENT,
EDITING EQUIPMENT, 16mm. and 35mm. FROM SIN¬
GLE ITEMS TO COMPLETE STUDIOS. TRADES AC¬
CEPTED.
THE CAMERA MART, INC.
1845 Broadway Circle 6-0930 New York 23, N.Y.
WANTED — Super 1200 Auricon, complete,- used Mitch¬
ell 16mm camera, used, geared pan and tilt head
and several good used sound projecters. BOX
1206, AMERICAN CINEMATOGRAPHER.
CAMERA & SOUND MEN
TOP-NOTCH cameraman available. Has done over 400
TV films, industrials, commercials. Eastmancolor,
kodachrome, B&W. Has made films all over U.S.,
Canada, Mexico, Europe. Now available for the¬
atrical short subjects, features, or TV film series.
Has complete Mitchell equipment. BOX 1205,
AMERICAN CINEMATOGRAPHER.
MOTION picture cameraman thoroughly experienced
with camera, sound, and editing desires relocation.
Presently with midwest television statien. Age 28,
married. HAROLD M. LYNCH, 2000 W. 10th, Apt.
C-2, Sedalia, Missouri.
ARIZONA assignments — Cameraman I.A.T.S.E. Mag¬
netic Film equipment and sound track. CARL C.
YOST, Studio 328 North 11th Way, Phoenix, Ari¬
zona. Phone Alpine 4-0215.
POSITIONS WANTED
NEGRO — Catholic, experienced cameraman, 35mm
newsreel, 16mm color productions, editing, light¬
ing, titling, also projectionist. MALCOLM MYERS,
3424 Clark Ave., St. Louis 3, Missouri.
( Continued on Next Page)
American Cinematographer
March, 1955
177
Classified Ads
(Continued from Preceding Page)
LABORATORY & SOUND
ROCKY MOUNTAIN 16MM HEADQUARTERS
Processing — Printing — Recording
Editing — Production — Rental Sales
DuPont, Eastman and Fastax films in stock.
Write for Price List.
WESTERN CINE SERVICE, INC.
114 E. 8th Ave., Denver 3, Colo. TAbor 5-2812
SOUND RECORDING at a reasonable cost. High
Fidelity 16 or 35. Quality guaranteed. Complete
studio and laboratory services. Color printing and
lacquer coating. ESCAR MOTION PICTURE SERVICE,
INC., 7315 Carnegie Avenue, Cleveland 3, Ohio.
Phone Endicott 1 -2707.
LOWER cost 16mm editnig and sound recording —
— only 22 miles from Hollywood. EL RANCHO
AUDIO, 26236 Fairview Avenue, Lomita, California.
DAvenport 6-4925.
INSTRUCTION, CORRESPONDENCE SCHOOLS, ETC.
NATIONWIDE school of cinematography — Complete
professional course in cinematography, covering all
phases of motion picture production and technical
aspects. Many leading newsreel and TV camera¬
men started their careers with a Nationwide
diploma. Course now available by mail at re¬
duced rates, easy installment plan. For details
write NATIONAL WIDE SCHOOL OF CINEMA¬
TOGRAPHY, Dept. C, P.O. Box 56, Garland, Texas.
AMERICAN
CINEMATOGRAPHER
HANDBOOK
for the
PROFESSIONAL and AMATEUR
by
JACKSON J. ROSE, ASC
•
New data on Cinerama - Tele¬
vision photography - Background
Projection - Zoom Lenses - Un¬
derwater Photography - Latensi-
fication - “T” Stops - Ansco
Color - Eastman Color - DuPont
Color - Cameras - Projectors -
Lenses - Filters - Charts - Tables
- Ratings - Diagrams - Systems -
Equalizers - Formulas, Etc.
THE ONLY HAND BOOK
OF ITS KIND
(California buyers please add 18c sales tax)
f - 1
| Book Department,
American Cinematographer,
I 1782 No. Orange Dr., |
Hollywood 28, Calif.
Gentlemen: Enclosed please find $5.00* .
for which please send me a copy of
| THE AMERICAN CINEMATOGRAPHER HAND- I
BOOK AND REFERENCE GUIDE.
Address . . . . . .. .
City. _ _ Zone . State . .
•If you live in California, please include 18c
sales tax — total $5.18.
L _ <
SHOOTING COLOR TV FILM
(Continued from Page 176 )
white prints for television transmission,
even though the program has been shot
on color film. Experience to date indi¬
cates that satisfactory black-and-white
prints may be obtained from currently
available 35mm monopack color nega¬
tives. A few producers have demonstrat¬
ed that, with unusual care, acceptable
black-and-white prints can be produced
from 16mm Kodachrome, although it
seems doubtful that this method can be
generally recommended.
The soundtrack that accompanies a
color motion picture is just as important
as the picture portion of the print.
Trite as this observation may seem, pre¬
occupation with the picture photography
has sometimes been detrimental to the
sound recording operation. Since, in
television broadcasting, a motion-picture
presentation often follows or precedes a
live production, the audience can make
direct comparison of live and recorded
sound. Whether this comparison is made
consciously or not, the results are not
likely to be favorable to film unless the
track is of the highest quality. Although
this direct comparison is commonplace
in television, it is a test which few
theater-type films have to face. The fol¬
lowing practices, though known to tech¬
nicians of the major Hollywood pro¬
ducers, seem to be frequently ignored
by smaller producers.
1. Sound recording tests, accompanied
with sensitometer strips, should be made
with the equipment and the processing
laboratory that will handle the final
work. All subsequent work should he
tagged with such test strios.
2. Minimum cross-modulation distor¬
tion, maximum signal-to-noise ratio and
adequate frequency range should be the
objective of the sound-recording work.
3. Violent changes in peak sound lev¬
els should be avoided. Television listen¬
ers object to the wide range of peak
sound levels that apparently find accept¬
ance in the theater.
The successful shooting of film for
color television requires full apprecia¬
tion of the differences between the re¬
quirements for viewing directly on a
screen and for viewing on a television
system. Once these differences are un¬
derstood, experienced personnel should
have no difficulty with the mechanics of
producing color film tailored to the
needs of the color-television system.
The recommendations covering staging,
lighting, camera, film and sound record¬
ing practices set forth in the foregoing
paragraphs represent good starting
points from which deviation may be
made after extensive testing and field
experience indicate the desirability of
doing so.
Finally, one nontechnical subject war¬
rants comment: the temptation to over¬
do color in the “learning” stage. Experi¬
enced color producers warn against
over-emphasis of color merely for color s
sake — the use of a riot of color which
detracts from the play, the performers
or the commercial product. There are
no technical aids that can be substituted
for actual experience, good judgment,
artistic skill and proper organization.
A reasonable share of these ingredients
is required in the production of film for
color-television use.
The authors gratefully acknowledge
the assistance received from various
members of the motion-picture and the
television industries while they were
undertaking the work which forms the
basis of this paper. The cooperation of
Karl Freund of Desilu Productions,
Peter Keane of Screen Gems. Inc., Eric
House of Technicolor Motion Picture
Corp., and of A1 Simon of McCadden
Corp. was particularly helpful. The ex¬
perimental portion of the work was
undertaken under the able supervision
of R. S. O’Brien and J. R. Whittaker
of the CBS Television Engineering
Dept., both of whom made major con¬
tributions to the undertaking.
NEW AURICON PRO-600
(Continued from Page 157)
The Auricon Pro-600 “Tele-Finder
optical system provides 10-times magni¬
fication of the image when telephoto
lenses are used on the camera. When
the camera is furnished with a 3-lens
rotary turret, the three Tele-Finder ob¬
jectives can be mounted on the turret.
These automatically change the telephoto
finder image size as the turret is rotated
to change lenses, but without changing
the lOx magnification of the finder
frame image.
The Auricon Pro-600 may be had as
a silent 16mm camera, or as a sound-
on-film camera fitted with s.o.f. record¬
ing galvanometer, and including the
amplifier.
Other features include: indicator light
that shows when camera is running ;
illuminated geared footage counter;
push button stop and start control;
“Power-on” indicator light; and exclus¬
ive patented steel-ball film aperture.
The Auricon Pro-600 camera is a
product of Berndt-Bach. Inc., 6900
Romaine Street, Hollywood. California.
178
American Cinematographer
March, 1955
Automatic Fader by Bell & Howell
attaches to all J and D Printers
Now this new automatic fader sets the pace for
Bell & Howell’s year of printer progress. Here's
your partner in perfection for the ultimate in fade
techniques. This electronically- operated attach¬
ment permits close control of fade values, seems
to possess a sense of timing all its own. At a print¬
ing speed of 60 feet per minute, its versatility pro¬
duces fades ranging from 6 to 80 frames in 35mm,
or 15 to 200 frames in 16mm. Such precision justi¬
fies your confident choice of the Bell & Howell fader
. . . first in a 1955 series of important printer de¬
velopments. Write Professional Department, 7148
McCormick Road, Chicago 45, for details.
More than anyone, professionals know . . .
experience leads to Bell&Howell
HONORARY ACADEMY AWARD 1954
To Boll & Howell for 47 Years
of Pioneering Contributions
to the Motion Picture Industry
AUTOMATIC FILM SPLICING MACHINES • 35mm PROFESSIONAL STUDIO CAMERAS • 35mm EYEMO PORTABLE CAMERAS • 35mm TO 16mm PICTURE REDUCTION PRINTERS
if- '
For balanced
color... use byron
color-correct
prints
«»NM**R5K
Byron color-correct" prints give you color that is
never too light — never too dark — color that is always
right! Such perfection is a regular service at Byron
— backed by efficient personnel, precision
equipment, operating in a plant designed for peak
performance. Byron quality, Byron service costs
no more, and is available in 8 hours if necessary.
Write, wire, or call today for an
early start on your job!
. . . and for balanced service
byron offers you these 16mm
production facilities:
scri pt-
art-
titling-
animation-
edi ting-
sound effects-
recording
location photography
music library
■sound stage
complete black and white
laboratory facilities
-precision magnetic striping
byron
Studios and Laboratory
1226 Wisconsin Avenue, N.W., Washington 7, D.C. DUpont 7-1800
*Reg. U. S. Patent Office
PRACTICALLY EVERY 16MM FILM PRODUCER IN THE WESTERN HEMISPHERE IS A CLIENT OF BYRON
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
MILTON KRASNER
ASC.
“Three Coins In The
Fountain"
BORIS KAUFMAN
On The Waterfront
Academy Award Winners
NEW! IMPROVED
NEW
STEERING
SELECTOR
Type of steering is easily and
quickly changed by simply ro¬
tating steering bar — without
removing hands from the bar.
Turns on own axis, in any
desired arc or tracks in a
straight line.
CRAB-TYPE DOLLY FOR FILM OR TV CAMERAS
{P
Q
0
A
JL
4
6,
STRAIGHT
TRACKING
PARALLEL
STEERING
CIRCULAR
STEERING
The most versatile, most maneuverable of all motion picture or
TV camera dollies is now better than ever with many important
improvements.
NEW BEARINGS. Rolls easily,
smoothly on new, precision bearings
in wheel spindles.
IMPROVED TRACKING. Tracks in a
steady, straight line for running
dolly shots.
NEW FLOOR LOCK. Cinemobile can
be quickly locked in position for
fixed location shooting.
NOW - 2 SEATS. Second seat pro¬
vided for assistant cameraman.
LEVELING HEAD. Compensates for
out-of-level floor condition.
NEW HYDRAULIC SYSTEM. Raises or
lowers camera boom smoothly,
quietly, automatically from extremely
low to 57" high even with dolly in
motion. New hydraulic fluid avail¬
able everywhere.
’Shown with new H-F Cradle Head (not included).
SEND FOR CATALOGS NOW!
MANUFACTURER OF MOTION PICTURE FILM PROCESSING AN
UDIO EQUIPMENT1’
■ ' _ _
NOW! “Oscar” Winning SOUNDCRAFT Magna-Striper
Available in New 16-mm Model!
1 Take-up reels
2 Feed reels
3 Splicing elevator
(40 seconds capacity)
4 Exhaust fan motor
(1800 cfm)
5 Feed bottles with
bottom screw vents
6 Drying air thermometer
7 Micrometer stripe adjustments
8 Binocular microscope
9 Sapphire shoes beneath
precision striping heads
10 Splicing block
1 1 Air heaters
12 295' leader
13 High temperature drying
chamber (4 minutes)
14 Removable partition
facilitates threading
15 Low temperature drying
chamber (2 minutes)
16 Sliding glass doors
How the New 16-mm Magna-Striper
applies Soundcraft Magnetic Oxide in
three widths for three different pur¬
poses.
25-Mil. MAGNA-STRIPE for
double-perforated silent film
50-Mil. MAGNA-STRIPE for both
magnetic and photographic sound
100-Mil. MAGNA-STRIPE for
all-magnetic-sound track
Here at last is the answer to the de¬
mand for local striping service to pro¬
vide true hi-fidelity 16-mm magnetic
sound
... an entirely self-contained,
semi-portable, one-man operated
magnetic oxide striping machine,
identical in every vital feature to
the now famous 35-mm Sound¬
craft Magna-Striper which won
the coveted 1953 Academy of
Motion Picture Arts and Sciences
Award.
... the same fine Soundcraft en¬
gineering and construction that
every major Hollywood producer
of CinemaScope has used to
process stereophonic sound re¬
lease prints.
With ease and precision this new
equipment quickly applies two stripes
of Soundcraft’s perfected magnetic
oxide to any 1 6-mm film . . . black and
white or color, single or double per¬
foration. Jeweled bearing shoes (Item
9 above) assure precision striping
even with old, warped or distorted
film . . . even when spliced and spliced
and spliced! All wiring is explosion
proof.
Write today for complete franchise
information and full technical details
about how you, too, can build a highly
profitable business with this revolu¬
tionary new Model Z 16-mm Sound¬
craft Magna-Striper!
For Every Sound Reason
REEVES
SOUNDCRAFT
CORP. Dept. AE 4
10 East 52nd St., New York 22, N. Y.
AMERICAN
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
PUBLICATION OF THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
Arthur E. Gavin, Editor
Marion Hutchins, Editorial Assistant Emery Huse, Technical Editor
Eiiitoriai. Advisory Board: John Arnold, Arthur Edeson. Lee Cannes, Charles
Rosher, Leon Shamroy, Fred Gage, Glenn R. Kershner
Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Calif.
Telephone: HOIlywood 7-2135
VOL. 36
APRIL • 1955
NO. 4
In This Issue
An All-film Television Station By Glenn Wentzel
Academy Award Winners - -
An “Emmy” for Cinematography — By Leigh Allen
Shooting “Oklahoma!” in Todd-AO — By Herb A. Lightman
Suiting the Lens to the Scene — By Charles Loring
Experiments With the Camera— By Harold Benson
A Problem In Lighting — By Arthur Rowan -
A Plea to Congress via Film — By C. M. Howe
Cine Camera Tricks — By Charles Loring
Our Movie on TV— By Clifford Harrington ■
Time Lapse Cinematography — By Carroll Dunning
203
206
209
210
213
214
222
224
226
227
228
FEATURES
Hollywood Bulletin Board .
Industry News .
Booklets, Catalogs, and Brochures
What’s New in Equipment, Accessories, Service -
Hollywood Studio Production -
188
192
194
198
242
. . . . . . . . . . . . . . . . llllllllllllllllillllllllll .
AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. a.
C AKenc^ Inc l782 N Orange Dr.,’ Hollywood 28 Calif. Entered as second class ma ter
Nov. IS, 1937, at the postoffice at Los Angeles, Calif., under act of Marc , • .
SCRIPTIONS: United States and Canada, $3.00 per year ; Foreign lncludg 7 s- )e
Union $4 00 per year. Single copies, 25 cents; back numbers, 30 cents, S .A,
copies’ 3 5 cents; back numbers, 40 cents. Advertising rates on application. Copyright 1955
v?m ,
AS
■issim
i
I he matchless technical perfection which a Mitchell camera brings
Vvy |L to a film can insure the investment as can no other single element of production.
For over 25 years constant research and engineering by Mitchell has
continued to produce, year after year, the most advanced and only truly
professional motion picture camera. It is traditional of Mitchell cameras that
in addition to filming the world’s greatest films, they are to be found wherever
new and exacting techniques of filming are being successfully used.
Mitchell cameras are today dependably serving such varied fields as
Television, Business and Industry, Education, Government, the Armey! Services, and
major Motion Picture Studios.
the
• &
ios shoots a TV commercial ^WOne of threeMuchell 35mm "BNC" Cameras
for North American Airlines with this Mitchell Productions on the I Love Lucy series with Desi Arnaz, right,
35 "NC'i Ceasar Romero is shown at center. and Lucille Ball.
' . * , | i M - • v , . ■ ,
Mitchell cameras are created, not mass produced-the same supreme custom
workmanship and smooth, positive operation is found in each Mitchell camera,
16 mm or 35 mm. Available to give Mitchell Cameras almost limitless capabil¬
ities, are the finest of professional accessories.
x
NEW!
MAGNASYNC X - 400
Fig. 1
CASES CAN BE SEPARATED AS SHOWN FOR "CONSOLE” MODEL
mflcmm
SYNCHRONOUS
film RICOROEt
ECORDERS
The X-400 is a complete synchronous
16mm Magnetic film recording and
reproducing channel, professional in
every detail. This is the answer for
the independent producer whose
budget has prevented him from taking
advantage of sprocketed double sys¬
tem production. The X-400 is de¬
signed around the basic "Synkinetic”
motion principle that through the
years has given meaning to the
Magnasync pledge — Quality-Econom/-
Integrity!
SIMPLE INTERLOCK WITH
CAMERA OR PROJECTOR
The X-400 may be operated in either of the
positions illustrated in Figures 1 and 3. Posi¬
tive projector or camera interlock can be made
with the simple flexible-cable gearbox attach¬
ment shown above. Extended armature shaft
of the synchronous drive motor is accessible
through opening in case. This shaft also serves
as a convenient ' framing knob.”
Fig. 4
COMPACT-PORTABLE
CASE IS ASSEMBLED
AS SHOWN
"2-IN-1 ” UNITIZED CONSTRUCTION
SHOWING MECHANICAL UNIT
STACKED ON AMPLIFIER
The X-400 Recorder was designed originally for
the export market where extreme portability,
professional quality and "dollar exchange”
economy is mandatory. The amazing perform¬
ance of this machine has prompted us to make
it available to American producers as well.
Considering the unbelievable price of this equip¬
ment, we are emphasizing the fact that the
specifications are unconditionally guaranteed!
SPECIFICATIONS:
FREQUENCY RESPONSE: 50-8000 cps. ± 2 db. FLUTTER AND WOW: 0.2% maximum overall. DISTORTION: Less than 2% total harmonic.
SIGNAL -TO- NOISE RATIO: Greater than 50 db. DIALOGUE EQUALIZATION: Switch for bass roll off from 300 cps to —10 db. at 100 cps.
INPUTS: 1. High gain (100 db) microphone channel. (Strapped for 50 ohms standard. Can easily be changed to 250 ohms or 600 ohms).
Cannon X-L connector. 2. Hi Impedence input.
Producer Net Price $895.00
F O B. NO. HOLLYWOOD, CALIF. EFFECTIVE JAN. 1, 1955. SUBJECT TO CHANGE WITHOUT NOTICE.
DEALERS
NEW YORK — Camera Equipment Co., 1600 Broadway, New York
19. JUdson 6-1420. Cable Address CINEQUIP.
CHICAGO — Zenith Cinema Service, Inc., 3252 Foster Ave.,
Chicago 25, III. IRving 8-2104.
SAN FRANCISCO — Brooks Camera Co., 45 Kearney St., San
Francisco, Calif. EXbrook 2-7348.
CANADA— Alex L. Clark, Ltd., 3745 Bloor St., Toronto 18,
Ontario. BEImont 1-3303.
Sill
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Hollywood
Bulletin Board
In Hollywood last month looking over
VistaVision cameras, photographic prac¬
tices and techniques at Paramount stu¬
dio were Italian cinematographers Otello
Martello and Aldo Tonti, both members
of the Associazione Italiana Cineopera-
tori — the Italian equivalent of the Amer¬
ican Society of Cinematographers.
Both cameramen are slated to direct
the photography of Ponte de Laurentiis’
“War and Peace” in Rome.
★
Three new members were admitted to
American Society of Cinematographers
last month. They are: Mark P. Gerrine,
Pathe Laboratories, associate; John Mar¬
tin, director of photography; and Gif¬
ford S. Chamberlain, Technicolor Mo¬
tion Picture Corp., associate.
★
Ellis Carter, ASC, directed second unit
photography for Republic’s “Texas Leg¬
ionnaire” in Texas last month.
★
William Mellor, ASC, who has been
shooting the “Ozzie and Harriet” TV
film series, bowed out of the assignment
to resume activities in feature film pro¬
duction. First assignment was to direct
the photography of “Last Frontier.” star¬
ring Victor Mature, for Columbia Pic¬
tures.
•k
Eric Horvitch, ASC, of Johannesburg, So.
Africa, reports that South Africa’s most
prominent members of the country’s mo¬
tion picture industry have organized the
South African Society of Cinematogra¬
phers.
“The Society is to follow closely the
high ideals of the A.S.C.,” says Hor¬
vitch. “and it is hoped that eventually it
may become affiliated with and be rec¬
ognized by your organization.”
★
Karl Freund, ASC, has been elected a
delegate by the U. S. National Commit¬
tee of the Commission Internationale de
L’ Eclairage (International Commission
on Illumination) to represent the United
States division on television and motion
picture lighting at the Commission’s
convention in Zurich, Switzerland, June
13 to 22, 1955.
Freund leaves for Zurich next month
following seasonal windup of the three
TV series — “I Love Lucy,” “December
Bride,” and “Our Miss Brooks”— which
he photographs for Desilu Productions.
J. P. J. Chapman, cinematographer of
Dorset, England, and for 20 years a
subscriber to American Cinematographer
magazine, renewed his subscription for
the 21st year last month. During his
career as cinematographer, Chapman has
collected 10 awards for motion picture
photography.
★
When the volcano Kapoho erupted in
Hawaii last month, Harold K. Miyamoto,
of Hawaiian Flms, Ltd., was on the spot
with his motion picture camera. Result
is a 400-ft. color film, “Rift of Fire,”
chronicling the event.
★
Charles Rosher, ASC, who recently re¬
tired to his tropical estate in Jamaica,
reports his set lighting experience stood
him in good stead on the occasion of
recent visit of England’s Princess Mar¬
garet. He supervised the lighting for a
beach party given at Frenchman’s Cove
in the Princess’ honor.
★
Harry Wild, ASC, has been signed by
McCadden Corporation to direct the
photography of “The Bob Cummings
Show.” Hal Mohr, ASC, who formerly
photographed the show continues as di¬
rector of photography of “Life With
Father” for the same producer.
★
Albert Wetzel, ASC, celebrates ten con¬
secutive years as cameraman on race
track “control” movies this month.
Wetzel, who helped Joe Thomas of Tele¬
film launch the first turf film patrol
project at Hollywood Park, is currently
shooting films for Joe Hernandez, using
anamorphic lenses on 16mm cameras —
said to be first application of Cinema-
Scope type of photography to race track
movies.
★
Benjamin Kline, ASC, veteran director
of photography and one of the pioneers
in TV film photography (“Fireside
Theatre”) recently addressed the cinema
class of the University of California at
Los Angeles on “Advance of Camera
Techniques From the Silent Era to TV.
★
From Leo Guild’s column in Hollywood
Reporter: “Burns and Allen” cinematog¬
rapher Phil Tannura was ill yesterday
and George sent him flowers with a note,
“If these flowers seem out of focus, stay
home another day.”
188
American Cinematographer
April, 1955
FINEST
YOU’VE EVER HEARD
Top Quality...
Just as it requires artistic feeling and a
touch of genius to master a musical
instrument, so the human element enters
into sound recording. TELEFILM has the
finest system ever devised for 16mm Sound
Recording . . . the result of the skill and
ability of the most highly trained soundmen
in the industry working with the
best equipment.
Complete Facilities...
Ever since they announced the
development of the first high-fidelity
sound recording for Kodachrome
over sixteen years ago, the sound
department of telefilm has continually
grown and expanded. Today, their
16mm sound studios are unequalled
anywhere, with the facilities to
handle any film recording job . . .
no matter how large or complicated.
Speed . . .
telefilm’s sound studios have more
than kept pace with the ever increasing
demand for more speed in production.
They maintain a reputation for getting the
work out faster and better . . . and at
no increase in prices you can afford.
TELEFILM STUDIOS has one primary objective, to
help the 16mm producer make better motion pictures. Their
modern facilities for sound recording . . . optical or elec¬
tronic sound printing . . . color printing with “Life-Like
Color”. . . . editing . . . titling . . . animation . . . special
effects and the skill and know-how of the finest technicians
in the industrv are at your command.
For complete information, visit Telefilm Studios
or write for descriptive literature.
telephone : H Oily wood 9-7205
Wi
estab. 1938
_
TELEFILM STUDIOS INC.
6039 HOLLYWOOD BLVD
HOLLYWOOD, CALIF.
Motion Picture & TV Film Production
Rentals
Sales
Service
EQUIPMENT!
Repairs
Engineering
Manu facturing
THE FASTEST CINE LENS F & B
IN THE WORLD 1 "
IN 16MM“C” MOUNT
NOMINAR
F/0.95
THIS MONTH'S
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LIST PRICE $165.00
FEDERAL EXCISE TAX $9.90
including series VI adapter and sunshade,
and beautiful leather carrying case.
1-1/3 STOPS FASTER
THAN F/1.4!
SHOOT TRI-X WITH ONLY
3 FC OF LIGHT
SHOOT KODACHROME WITH
150 FC OF LIGHT
GET BEAUTIFUL NIGHT EXTERIORS IN
MOONLIGHT OR BY STREET LIGHTS.
SHOOT HUGE INDUSTRIAL INTERIORS
WITH NO ADDED LIGHT.
SHARPNESS . . . RESOLUTION . . . DEFINI¬
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AND OPTICAL BENCH TESTS.
IF THE F&B NOMINAR l" f/0.95 lens is
not everything claimed in this ad, your
money will be gladly refunded.
NOTE: Our stock of Nominar lenses is extremely
limited at present. You are urged to place your
order now for earliest delivery. As always . . .
First come . . . first served.
— FOR ALL
CAMERAS
A BRAND-NEW, MODERN TRIPOD . . . precision
engineered and designed, ruggedly constructed
for long and satisfactory service.
QUOTES FROM PRO-CINE USERS —
” . . . Finest precision workmanship”
” . . . Best in its class” “ . . . Great”
” . . . Beautiful smooth movement”
“ . . . Perfect with Auricon camera.”
— SPECIAL FEATURES —
★ SUPER-SMOOTH, fluid friction pan and tilt
head.
■A TELESCOPING, two position, offset panhandle,
for adjustability to your length requirements,
left or right hand use; offset for greatest com¬
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■A KNURLED camera-tightening knob, externally
operated by angle gears for fumble-free, maxi¬
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if PRECISION ENGINEERED positive pan & tilt
locks for utmost in rigidity and safety.
if SUPERB, SEASONED, solid hardwood legs, fin¬
ished for smooth, non-sticking telescoping ac¬
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if REMOVABLE friction head for easy mounting
on baby tripod or hi-hat.
★ SPRING-BALANCED HEAD, adjusted to your
camera, available at extra cost.
STANDARD MODEL FOR ALL CAMERAS
NARROW PLATE MODEL FOR EK SPECIAL
WIDE PLATE MODEL FOR MAURER
HEIGHT: 41" to 75" . . . 360° pan; 90° tilt.
FINEST WORKMANSHIP AND MATERIALS
5 YEAR UNCONDITIONAL GUARANTEE . . .
Available $135.00
From Your Dealer Made in
or Write U.S.A.
FLORMAN & BABB
70 West 45th Street, New York 19, N. Y.
Phone: Murray Hill 2-2928
Cable Address -FLORBABB, N.Y.
New Mylar Transparent Tape
FOR BUTT OR LAP SPLICING
35MM — 106 FT. — $9.00
FINAL CLEARANCE
F&B Film Footage Counter
Dual Model — 35/1 6MM Combination
Sync Motors — Sync & Line Switches
List Price $ 1 50 —
Reduced Below Cost . . . . $79.50
Single Model — 35MM Only
List Price $75 —
Reduced Below Cost . . . . $39.50
ONLY A FEW LEFT
JUST OFF THE PRESS!
New F&B Catalog
also
F&B Equipment Rental
Price Schedule
Both FREE on REQUEST
PROFESSIONAL RESULTS
NOW POSSIBLE
WITH YOUR
(INEVOKE CAMERA
Shoot Complete
15 Minute
Programs
600 FOOT
MAGAZINE
CONVERSION
FOR 16mm
AURICON
CINEVOICE
CAMERA
At Low Cost ^
Write for Brochure
F&B USED EQUIPMENT
Always in stock . . . THOUSANDS OF ITEMS
. . . cameras, projectors, lenses, accessories,
rewinds, splicers, synchronizers, editing, light¬
ing and laboratory equipment . . . ALL AT
REASONABLE PRICES. We are always glad to
quote lowest possible prices for specific items.
★ ★★
Hoijy^
of the
Reflex
superb photographic instrument
mm.
16MM SOUND-ON-FILM CAMERA
*
uricon r\ 'Super 12011
irith nctr Model “f’M-r/ir* features • • •
During picture exposure, your film runs through the New Auricon "Super 1200” Film-Gate with
the light-sensitive film emulsion accurately positioned on jewel-hard Sapphire surfaces, an
exclusive Berndt-Bach feature (U.S. Patent No. 2,506,765). This polished Sapphire Film-Gate is
guaranteed frictionless and wear-proof for in-focus and scratch-free pictures, regardless of how
much film you run through the camera !
Built-in Electric Camera Heater with automatic Thermostat-Control, provides reliable cold-weather
Camera operation.
Geared Footage & Frame Counter with built-in neon-glow indirect light.
Two independent Finder systems (in addition to Reflex Ground-Glass Focussing through the
Camera lens); a brilliant upright-image Studio Finder, plus a "Rifle-Scope” precision-matched
Telephoto F'mder.
Records “rock-steady” picture and High Fidelity Optical Sound-Track on same film at same time,
with "whisper-quiet” Camera & Sound Mechanism synchronously driven by precision-machined
Nylon gears.
400 and 1200 ft. film Magazines available. Up to 33 minutes continuous filming.
“Super 1200” is self-BI imped for completely quiet studio use.
Now priced from $4,652.15 complete for sound-on-film; $3,755.65 without sound; choice of
“C” Mount lenses and Carrying Cases extra.
Sold with a 30 day money-back Guarantee and One Year Service Guarantee; you must be satisfied.
Write today for your free Auricon Catalog...
Shown here is a cutaway view
“Super 1200” Optical System for
Ground-Glass Focussing through
the Camera lens. Also provided
are two other finder systems, a
telephoto-lens "Rifle-Scope”
Finder synchronized
with the Camera
Turret, and a brilliant
upright-image
Studio Finder.
Dove-Tail Optical
Carriage is only
moving part of
“Super 1200” Optical
System. There is no
camera-weight shift
on tripod when moving
from focus to
film-shooting
position.
Super 1200” Camera casing, film gate and shooting
lenses are solidly precision-mounted with relation
to each other, and do not shift to focus or shoot.
BERNDT-BACH, INC.
6902 Romaine St., Hollywood 38, Calif.
Holly*':
PORTABLE POWER UNIT
*269 SO
ONE CAMERA
16mm or 35mm
in 10 SECONDS!
Camerette 1635
Reflex Motion Picture Camera
Th# perfect camera for the motion picture film
maker working in both 16mm or 35mm color
or black and white.
LOOK AT THESE ADVANTAGES—
• The same lenses, same motor drives, same
sound blimp and accessory equipment used
for both 16mm or 35mm — to convert simply
change the magazine.
• Precise rugged movement
• Reflex viewing
• 200 degree adjustable shutter
• Divergent three lens turret
• Automatic film gate 400' magazines 16 or
35mm — the 16mm magazine will accom¬
modate daylight spools as well as standard
core load.
• Light weight — only 14 pounds with 3
lenses, 400' magazine, and 6/8 volt motor.
Write for brochure
VjDamerette
patents coutant-mathot
Manufactured by Ets. Cine. Eclair, Paris
A short, inexpensive test film for rapid
checking and demonstrating of 16mm
projector system performance has been
developed by the Society of Motion
Picture and Television Engineers, New
York, in collaboration with the U. S.
Navy. This high-quality “Jiffy' film will
prove a boon to 16mm projector manu¬
facturers, audio-visual education organi¬
zations, repair shops and camera stores,
enabling them to make a simple check
or demonstration of projector perform¬
ance in the four minutes it takes to run
135 feet of him.
Although it requires no test instru¬
ments, the Jiffy provides checks for faith¬
ful reproduction of wide-range music,
picture steadiness, uniform picture
brightness, flutter, correct sound track
guide adjustment, normal volume, sound
focusing in both standard and non¬
standard emulsion positions, frequency
response from 50 to 5000 cycles, and
dialogue intelligibility.
★
A nine-minute, 15-year-old color test
him is quietly making television history
as a reference for TV broadcasters in
evaluating color him here and abroad.
Known as “Technicolor TV Test
Reel,” the him was originally produced
in 1940 by Technicolor Motion Picture
Corporation, Hollywood, to demonstrate
how color motion picture techniques
could be applied to product advertising.
Recent held experience with color TV
indicates that color hlms presently avail¬
able for broadcasting vary widely in
color quality.
Initial reprints from the old Techni¬
color him were made for TV use about
two years ago. Since then, the company
has delivered a great many prints to TV
stations in both 16mm and 35mm sizes
for use as a color reference in adjusting
and checking out him chains.
★
Completion of closed-circuit television
projection facilities at Consolidated Film
Industries laboratory in Hollywood,
marks the hrst such installation available
to customers of any him processing
laboratory in the U. S. The new facility
enables him production personnel to see
how their TV release prints look on home
sets when televised.
Utilization of the new “pre-viewing”
method is expected to set higher levels
of printing standards and quality con¬
trol, resulting in superior home recep¬
tion.
Universal-International, which already
has produced several pictures in Cine-
maScope, will now explore another wide¬
screen system when it photographs
“Away All Boats” in Paramount’s Vista-
Vision process. Company has made ar¬
rangements to lease VistaVision cameras
from Paramount for this production.
★
S.O.S. Cinema Supply Corp., New York,
has been granted agency rights for the
Vistarama anamorphic system of wide
screen photography.
Vistarama, like CinemaScope, employs
an anamorphic “squeeze lens by which
images twice the normal width are com¬
pressed onto regular 35mm or 16mm
negatives.
S.O.S. is providing shop facilities for
mounting Vistarama on any type 16mm
or 35mm professional cameras. Leasing
arrangements are available for producers
of features, short subjects, industrial,
documentary and educational hlms.
★
Trans-Lux Corporation, New York, pio¬
neers in rear projection screens and
projection equipment, has sold its rear
screen catalogs and background slides
to Jenfred, Inc., 36 West 57th St., New
York. Latter company reportedly has
largest collection in the world of original
pictures made for b.g. projection, supply¬
ing many of the industry s TV him pro¬
ducers as well as TV stations.
★
Expansion of laboratory and office
facilities of Movielab Film Laboratories,
Inc., were highlighted on March 30th in
ceremonies observing the firm's 25th an¬
niversary and dedication of its head¬
quarters at 619 West 54th Street as the
Movielab Building.
Current expansion increases Movie-
lab’s office and laboratory space to ap¬
proximately 70,000 square feet, accord¬
ing to Saul Jeffee, president of company.
★
Correction
In the February issue of A. C., there
appeared (somewhat delayed) in this
column an item and illustration describ¬
ing the Camart tightwind adapter,
priced at $24.00. Manufacturer has
called attention to fact that this model,
now obsolete, has been replaced by a
new and improved model priced slightly
higher at $29.00.
192
American Cinematographer
April, 1955
CAMERETTE
Now Available with Two
Important New Features!
★ Adapted for CinemaScope
★ Sound Blimp with Reflex Viewing
Now for the first time — a lightweight camera for CinemaScope photography — the
35mm Camerette with CinemaScope aperture, with full CinemaScope field visible
through the reflex viewer. Auxiliary turret and matte for regular photography.
New magnesium alloy blimp with viewing through the taking lens at all times through
the Camerette’s reflex finder, making a lightweight, fully blimped combination 16mm
or 35mm camera. Synchronous motors — 110-v single phase, 220-v three phase.
ONLY THE CAMERETTE HAS
W rite for descriptive literature
BENJAMIN BERG COMPANY
1410 N. VAN NESS AVE. • HOLLYWOOD 28, CALIF. • Hollywood 9-8023
Ability to use both 16mm and 35mm
film in one camera.
Sound blimp with reflex viewing,
making a fully . blimped, instantly
interchangeable 16mm or 35mm
camera.
Patents Coutant-Mathot
Manufactured by Eclair, Paris
Reflex viewing through the taking
lens at all times for both film sizes.
Write or Phone Today for Details
^ FILM LABORATORIES
yfjlj ° inc.
JWy, Formerly McGeary Smith
Laboratories Inc.
1905 Fairview Ave., N. E.
Washington 2, D. C.
Telephone LAwrence 6-4634
Booklets Catalogs Brochures
available from equipment manufacturers
Animation Equipment
The complete line of the well-known
and versatile Oxberry motion picture
animation equipment is illustrated and
described in a 9-by-12 loose leaf folder,
available from the distributor, The Ani¬
mation Equipment Corporation, 38 Hud¬
son Street, New Rochelle, N. Y. Distri¬
buted by this company are all the equip¬
ment and accessories for the production
of animated films, titles, etc.
★
Recording Equipment
A beautifully-illustrated 4-color bro¬
chure-catalog, just issued by Westrex
Corporation, 111 Eighth Avenue, New
York 11, illustrates and describes the
company’s line of magnetic, photogra¬
phic and disk recording equipment.
Comprehensive descriptions and the
wealth of illustrations enable the reader
to readily understand each piece of
equipment and visualize its application
in its respective field. Also included are
descriptions of associated studio equip¬
ment and location recording power ap¬
paratus.
★
Processing Equipment
A new catalog of film processing
equipment has just been issued by Tele¬
vision Specialty Company, Inc., 350
West 31st St., New York 1, N. Y.
Listed are all the processing machines
presently available on the market. In¬
formation is also given as to which pro¬
cessing machine is best suited to the
user’s needs, based on maximum amount
of film produced on a weekly or monthly
basis.
★
Lens Data
Photographic Optics is title of well-
illustrated 64-page booklet available
from the Scientific Bureau of Bausch &
Lomb Optical Company, Rochester, N. Y.
It is a recommended reference book for
all photographers — both still and motion
picture, and is available without cost by
writing the company at above address.
★
Mirror Optics
Wollensak Optical Co., Rochester,
N. Y., offers an illustrated brochure
describing the application of the com¬
pany’s line of Mirrotel Lenses — telephoto
lenses of long focal length employing
mirrors. Unique design makes possible
an 80-inch telephoto which is only 20-
inches in actual length from focal plane
to front lens, as compared to 68-inches
for the conventional 80-inch tele lens.
Mirrotels may be used with almost any
motion picture camera.
★
Film Processors
Houston-Fearless Corp., 11809 West
Olympic Blvd., Los Angeles 64, have re¬
leased a new brochure on the company s
Model 11B automatic film developer for
processing reversal films. Complete
specifications and technical data are in¬
cluded.
★
16mm SOF-Making Data
How To Use Your “Cine-Voice” is
title of informative, well-illustrated book¬
let now available from Berndt-Bach, Inc.,
6902 Romaine Street, Hollywood 38,
Calif., makers of the Cine-Voice camera.
Prepared by the technical advisory
service of the company, the booklet is
a highly instructive treatise for anyone
planning the production of 16mm sound
films for the first time.
★
For Cine Filmers
Amateur movie makers should request
mailings of “Movie News,” published by
Eastman Kodak Company, Rochester 4,
N. Y. Issued every other month, it
brings the cine filmer many interesting
suggestions for personal movie making,
some how-to-do-it ideas, and news of
new accessories and equipment. The
publication is free.
★
Describes Pathe “16”
The full frame follow focus feature of
the unique Pathe “16” cine camera is
illustrated and described in a brochure
available from Director Products Cor¬
poration, 570 Fifth Ave., New T ork 36,
N. Y.
★
16mm Printing Equipment
Specification sheets on 16mm film
printers, combination 16mm and 8mm
continuous printers, and a reduction and
enlarging printer for 16mm and 8mm
films offered by Uhler Cine Machine Co.,
15778 Wyoming Ave., Detroit 38,
Michigan, are available from the com¬
pany.
194
American Cinematographer
April, 1955
38 Years of Lighting Experience*
“If it’s inside four walls,
we’ll light it!”
ru
Don’t by-pass that big color job for lack
of lighting equipment or large scale lighting
experience. We have specially-designed, high output,
quick-rig, lightweight equipment, created for
today’s tremendous color motion picture interiors.
We are a most complete and always dependable
source. Regardless of budget limitation or size, our all-
inclusive contract service can help you solve that lighting
problem! Lights — Generators — Grip Equipment —
Cables — Boxes — Accessories, in quantity.
■13>.
ttaaan —
in
THE STUDIO LIGHTING CO
2212 North Hoisted Street, Chicago 14, Illinois
Phone: EAstgate 7-2800
•SOME OF OUR REPEAT JOBS: DEMOCRATIC AND REPUBLICAN NATIONAL CONVENTIONS (7 TIMES) ♦ PRESIDENTIAL CAMPAIGNS -LANDON, WILKIE, DEWEY (2),
ROOSEVELT (2), TRUMAN, EISENHOWER • AMERICAN BOWLING CONGRESS {12 YEARS) • AMERICAN LEGION NATIONAL CONVENTIONS (7 TIMES) • ALL-STAR BOWL¬
ING TOURNAMENTS • HOLLYWOOD LOCATION UNITS FOR ALL MAJOR STUDIOS • PLUS HUNDREDS OF INDUSTRIAL AND TELEVISION FILMS THROUGHOUT U. S.
Manufacturers and
Distributors of:
Bloop Punches
Cans, Film Strip
Editing Tables
Film Bins
Film Racks
Flanges
Film Editing Gloves
Leader Stock, 1 6 & 35 mm
Measuring Machines
Plastic Cores, 1 6 & 35 mm
Reels, 16 & 35 mm
Reels, Non-Magnetic
Split Reels
Rewinds
Sound Readers
licers
r
Storage Cabinets
Vault Cans
Scotch Tape
Cloth Tape
Sound Recording Tapes
HOLLYWOOD
FILM COMPANY
... . - — ' ** — * —
956 NO. SEWARD ST.
HOLLYWOOD 38, CALIF
precision film editing equipment
HO-23284
HERE UNDER ONE ROOF
...the One-Stop Source for all your
HIM RfflClMI EMfti
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ip
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OPTICAL RECORDING
IS HERE TO STAY!
Do your own
transfer of
re-recording
from
magnetic
or optical to
35mm film.
“• tr.-c-ii':-
Hi
^ BARDWELL & McALISTER
> ■%] MULTIPLE STRIPLITES
for Spot or Flood
rjj Extends 4 to 1 5 high. For indoor and outdoors.
3 Striplites, each has 4 swivel sockets & switch,
holds twelve 1 50W R40 lamps — totaling 1 800W
illumination. Folds to portable size. Tripod stand
has two folding 1 '/4 " tubular steel arms 28"
long, with attached striplite lamp heads. Heads
measure 2" long x 2 V4 " x 3" high; weather¬
proof cable & plug. Rolling stand has three 4"
rubber tired casters. Can also be used with Color-
Tran converters. Excellent condition. Orig. U.S.
Govt. Cost $180; NOW only $29.50.
Same with One Striplite, holds four T 50W lamps, $22.50
Multiple Striplite Lamp Heads Only . $ 4.95
Telescopic Tripod Stand Only with 3 brackets . $19.95
The LATEST BLUE SEAL If you have a
35mm FILM RECORDER 16mm Auricon
• Rotary film drum with stabilizer. ^ClUrer
® Completely enclosed gear drive. you Can now
• Film footage counter. use your
• Synchronous motor 115V single present
phase or 220 volt 3 phase.
• Takes B & H type magazines. CJETip I ier
• Precision machined thruout. equipment.
BLUE SEAL 35mm RECORDER'-:
• without galvonometer; Reg. $5000 . NOW $2695
• with Auricon Modulite Galvnomtr.; Reg. $5500. .. NOW $3190
• with Maurer Neg./Pos. Dual Track; Reg. $7500..NOW $4645
• with Blue Seal varidble area dual bi-lateral track
galvonometer; Reg. $6500 . NOW $3895
• 1000 ft. Film Magazines . EACH $ 165
Auricon-Pro Owners Attention!!
S.O.S. will trade your old camera for the
“All New Auricon Pro-600”. Time Payments, too!
Visible Edge film
Numbering Machine
Avoid the annoy¬
ance and many
man hours lost
classifying films
without titles.
The MOY edge
numbers every
foot of 16 and
35mm film and
simplifies the
task of checking
titles, footage.
IDENTIFY YOUR FILMS INSTANTLY
The MOY replaces cue marks, messy crayons, punches, embossing — does
not mutilate valuable film. Work prints showing special effects, fades and
dissolves require edge numbering to keep count of frames cut or added.
Multiple magnetic tracks in CinemaScope stereophonic recordings make
edge numbering a MUST.
With NEW improved Non-Clog Inking System $2475
Present MOY owners can easily install the new and improved inking system!
AMONG RECENT PURCHASERS ARE:
Reeves Soundcraft, Springdale, Conn.
Holland & Wegman, Buffalo, N.Y.
American Optical (Todd AO), Hollywood
Indonesian Supply Mission, N.Y.C.
Cinerama Productions, New York
Columbia Broadcasting System, N.Y.
BRIDGAMATIC 416D35, combination T 6/35mm high speed automatic film develop¬
ing machine, totally enclosed for daylight operation — one of 1 2 standard models.
DEVELOP YOUR OWN FILMS
A true one-man lab. Entirely automatic! Capable of speeds up to
3000' per hr. positive, 1200' per hr. negative, depending on
developing times. Standard design has open tanks, outside feed-in
and take-up reels. Variable speed transmission gives graduated
control from zero to infinity. Built-in drybox allows 15 to 30
minutes drying time.
I llustrated brochure and questionaire analysis yours for the asking.
AMONG RECENT PURCHASERS ARE:
U.S. Army, Franktord Arsenal, Philadelphia, Pa.
A.I. Dupont Inst. (The Nemours Foundation), Wilmington, Del.
U.S. Naval Microfilm Laboratory, Washington, D. C.
A PRODUCT OF FILMLINE COR P.
PRICES
START AT
$1095
S.O.S.
"The Department Store of the Motion Picture Industry
CINEMA SUPPLY CORP. m
602 WEST 52nd ST., NEW YORK 19, N.Y.
Phone: PLaza 7-0440 Cable: S0S0UND
S.fS. '
EST. ft? 1926
I
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WHAT’S HEH
... in equipment, accessories, service
= New 35 mm Model 2A =
EE With 180° Shutter =
| a TRULY GRE^L |
| CAMERA |
EE for TV, Newsreel
= and commercial
For tough and trying assign
ments, ARRIFLEX 35 is in a
class by itself. Reflex focusing ~
through photographing lens EE
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= this is just one outstanding EE:
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EE Equipped with bright, right- ==
~ side-up image finder, 6'/i x EE
— magnification. Solves all par- EE:
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— Variable speed motor built iEE
iE: into handle operates from EE
= lightweight battery. Tachom- EE
EE eter registering from 0 to 50 =
= frames per second. Compact, EE
~ lightweight for either tripod EE
or hand-held filming. Takes ^
— 200' or 400' magazine. Write “
EE for free folder. —
Blimp now available. ~
16 mm ARRIFLEX also available
Data Recording Unit
PAR Products Corporation, 926 No.
Citrus Avenue, Hollywood 38, Calif.,
announces a data recording unit for use
with the Cine-Special camera. It consists
of an optical system which projects on
the him frame the image of a clock,
gauge, recording instrument, and/or
data card. In the projected picture, the
data information appears in the lower
right hand corner of the frame. Data is
recorded on emulsion side of him. Speed
of the optical unit is f/4.5.
Unit was originally designed for the
Mayo Clinic for use in cine-photomicro¬
graphy. It is readily detached from cam¬
era for ordinary picture making.
Film Coding Machine
Hollywood Film Company, 956 No.
Seward Street, Hollywood 38, Calif., of¬
fers a new coding machine for 16mm
and 35mm him. Both models will code
up to and including 3,000 ft. reels
of him. A free-wheeling, precision-
machined contact roller assures uniform
application of the ink code marks with¬
out over-pressure embossing of numbers
on him. Exclusive inking method per¬
mits individual hand operation of coding
when necessary.
Other features include a Veeder-Root
counter, and an American Ink number¬
ing machine. Price of either 16mm or
35mm model is $2,500, f.o.b. Hollywood.
Automatic Printer Fader
Bell & Howell Co., 7100 McCormick
Road, Chicago 45, Ill., announces a sim¬
ple easy-to-install automatic fader for
installation on model D or J printers.
User can install the fader without need
of sending printer to the factory.
Net price is $700.00.
Pan Handle Modification
Cinekad Engineering Company, 500
West 52nd St., New York, offers the
Quiq-Set joint attachment for pan-tilt
handle of the Junior-Pro tripod. With
the Quiq-Set modification, pan-tilt han¬
dle can be adjusted to the required
angle most comfortable for the camera¬
man, and affords accurate control of
camera movement. Interlocking preci¬
sion-cast teeth insure rigid position of
handle. No tools are required to install.
Printer Fader
Motion Picture Printing Equipment
Company, Skokie, Ill., announces an
automatic fade attachment for use with
model “JA” and “DA” Bell & Howell
continuous contact printers. Unit is de¬
signed to function with the 300-watt
super high-intensity printer lamphouse,
and is easily inserted into the lamp-
house in place of the filter holder. A
filter holder pack is supplied.
Shutter blades are driven by a
mechanical clutch, which is connected to
a variable-speed motor, permitting vary¬
ing the lengths of fades. Indicator light
shows when shutter blades are open and
closed.
List price is $695.00, f.o.b. Holly¬
wood.
Fade attachments also are available
for Bell & Howell “J” and “D” printers.
Background Projector
Television Specialty Company, Inc.,
350 West 31st St., New York 1, N. Y.,
offers a compact, highly-efficient rear-
screen projector for use in television
production. Coated optical system im¬
proves light and image efficiency 20 % -
Other features include dimmer con¬
trol, slide changer, cooling system, wide-
angle Bausch & Lomb f/2.7 lens, sound¬
proofed to insure quiet operation on the
set, takes 4" by 5" slides, and the price
of $1,625.00 f.o.b. New York includes
set of six basic slides, and an 8-ft. by
10-ft. screen
Mood Music
Audio-Master Corporation, 17 East
45th. Street, New York 17, announces
the addition of 40 sides of music to its
mood music and effects library
New selections contain production
numbers, dramatic and powerful open¬
ings and closings, as well as unusual
commercial and industrial sound effects.
The new recordings bring to over 500
the number of diversified, out-of-the-or-
dinary selections to producers of indus¬
trial, educational and television films.
198
American Cinematographer
April, 1955
DEVELOPED ESPECIALLY FOR THE
No movie camera is
lens as the Arriflex
so well suited for the Zoomar
16. It's the ideal combination
varifocal
because:
1 The Arriflex is the only camera with Mirror
Reflex shutter, no external finder is used for the
Zoomar lens . . .
2 You focus and view the scene while actually
shooting — through the Zoomar lens.. .
SPECIFICATIONS
Varifocal Range . 25mm to 75mm
Aperture Range . f2.8 to f 1 6
Focusing Range . . 8 feet to Infinity
Built-in Lens Hood/Filter Holder
for Series VII
3 You needn’t remove other lenses because the
divergent lens turret permits any two other lenses
to be used with the Zoomar 16-S without optical
or mechanical interference . . . and
^ The vertical lever action of the zoom control is
smoother and more positive than the rotary move¬
ment usually employed.
$57900
Note: The Zoomar 16-S is not inter¬
changeable with the standard model,
nor can the standard model be converted
for use with the Arriflex.
KliING HP HO TO COHH.
235 FourtK Ave., New York 3, N. Y.
7303 Melrose Ave., Hollywood 46, Cal.
World Wide Distributors:
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of Precision-qudlity processing.
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Precision its top spot in the film processing field. Ledders in the photogrdphic profession know
they cdn depend on Precision for dccurdte , intelligent hdndling of their mdteridl. And constdnt
resedrch continues for even better wdys to serve your requirements.
In everything there is one best... in film processing , it’s Precision.
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A division of J. A. Maurer, Inc.
MOTION PICTURE PRINTING EQUIPMENT CO.
Mfrs. of Optical and Continuous Printers and Accessories.
8136 NORTH LAWNDALE AVENUE • SKOKIE. ILLINOIS
PETERSON CONTINUOUS DOUBLE-HEAD
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MODEL 16-C-60-16MM
MODEL 35-C-60-35MM
PETERSON OPTICAL PRINTER MODEL 300
Precision Motion Picture Printing Equipment and
Accessories
PETERSON ELECTRONC CUEING SYSTEM FOR ALL PRINTERS
PETERSON SOUND PRINTING HEAD FOR MODEL “J" AND “D” PRINTERS
BE SURE TO VISIT US AT THE SMPTE CONVENTION AT THE DRAKE HOTEL IN CHICAGO, APRIL 18-22
CAM ART PRODUCTS
developed through years of experience and use!
GUARANTEED PROFESSIONAL RESULTS!
• SALES
REPRESENTATIVES
AURICON sound cameras, Pro,
Cine-Voice, Super-1200 cam¬
eras, new and used.
PRECISION optical and mag¬
netic sound film readers.
All NEUMADE editing equip¬
ment.
BARDWELL McAlister Lights.
MAGNETIC film recorders.
ARRIFLEX 16-35mm Cameras.
ARRIFLEX 35mm Sound
blimps.
TRADE USED EQUIPMENT
SALES • SERVICE • RENTALS
• CAMART SLATE
BALTAR lenses mounted for
all 1 6-35mm cameras.
BELL and HOWELL service &
repair station.
MOVIOLAS fully recondi¬
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Design and build experiment¬
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modern machine shop. Arri-
flex buckle trips installed.
Write for prices.
EVERY FILM EDITOR NEEDS THE
CAMART
TIGHTWIND ADAPTER
HERE’S 8 REASONS WHY:
® Junks split reels and flanges.
® Designed to fit all rewinds.
• Saves storing film on reels.
• For left and right side rewinds.
• Chrome plated ball-bearing film
guide roller.
• Core adapter fits 16mm and
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• CAMART
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A terrific light especially suitable for
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either 1000 watt or 2000 watt T48-3200
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illumination of flat, even, shadowless
light. The successful lighting of many
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have proven the efficiency of this type
of equipment beyond question. Can be
used with Bardwell or Mole deuce
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Now used on many gov¬
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industrial film productions.
• THE ROTATOR LENS
Sensational and exciting effects made in your camera
with this addition to the Camart Optical FX Unit. Revolve
scenes 360°, simulate shipboard action, has many un¬
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picture producers. Descriptive literature available.
• CAMART SLATE
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DRAMA — Glenn Wentzel, KELO-TV's cameraman, standing behind “Hamlet” — typical of local events which are recorded on 16mm
the Auricon “Super 1200” camera, films a college dramatization of film for telecasting by station KELO-TV, Sioux Falls, S.D.
An All-film Television Station
How an enterprising TV station operates
entirely with motion picture film, with its
own camera crew turning out both program
material and commercials on 16mm film.
ONE of THE INTERESTING stories in the TV industry is
the way station KELO in Sioux Falls, South Dakota
went into television broadcasting and sustained the operation
profitably for more than twenty months without a television
camera — using motion picture film entirely.
When Joe Floyd took over radio station KEFO it was with
the object of setting up the first television station in this area.
The nearest station at the time was over 200 miles away.
There were no network facilities available, such as CBS,
( Continued on next page)
NEWS — Wentzel and his Auricon camera cover a pa¬
rade in Sioux Falls for a KELO-TV television newscast.
By GLENN WENTZEL
Head Cameraman , KELO-TV , Sioux Falls, S.D.
a **
American Cinematographer
April, 1955
203
we replaced the Auricon Pro camera
with the Auricon “Super 1200,” which
affords a film capacity up to 1200 feet.
In addition to the added film capacity,
we now required a more professional
production camera. Three features of this
camera proved especially advantageous
to us: the finger-tip controlled lens tur¬
ret, the critical focus (through taking
lens) device — ideal for ultra closeups,
COMMERCIALS— Filming a local disk jockey doing a commercial in KELO-TV’s film studio
Some of the station’s modern set lighting equipment is shown here.
NBC or Dumont, which meant that all
programming would have to originate
with the station.
Floyd, a veteran film exhibitor who
had operated a string of theatres in
South Dakota, naturally saw the possi¬
bilities of motion picture film as both a
source of programming material and a
means of putting the advertiser’s mes¬
sage before KELO-TV’s viewers.
We began operations as an all-film
television station in May, 1953. Once
the decision was made to operate entirely
with film, we set about to acquire the
necesary equipment and to plan opera¬
tions so that we would always be com¬
fortably ahead of deadlines. One of our
first purchases was an Auricon-Pro
16mm single-system sound camera.
Other equipment acquired was an Auri¬
con-Pro tripod, mike boom, a light¬
weight camera dolly, and a portable
power pack for operating the camera on
remote locations where AC current would
not be available.
A few months later, we added an¬
other camera to our equipment — the
smaller Auricon Cinevoice camera. This
is a compact single-system 16mm sound
camera — very handy for use on remote
locations as well as in the studio. This
camera was equipped with a Pan Cinor
zoom lens, and subsequently with a
larger, 600-ft. capacity film magazine.
Almost from the very beginning the
progress and success of KELO-TV’s op¬
eration was marked by the acquisition of
new and better equipment. We had been
in operation less than six months when
titles, etc. — and the adjustable shutter
which permits us to make fades and dis¬
solves with the camera — effects that are
essential in any professional TV film
production.
In the very beginning of our filming
operations, our studio lighting equip¬
ment consisted of a Colortran converter
plus a number of lighting units using
Par-38 flood lamps; also a number of
No. 4 Photofloods mounted in scoop re¬
flectors on stands, and miscellaneous
Kliegel spots and Mazda flood units. As
we progressed, overhead lighting units
of the telescoping suspension type were
installed. These now enable us to obtain
more uniform lighting for our daily
studio-filmed programs and commercials.
We usually get by on location or re¬
mote interior filming using three 15-
ampere circuits of house current, de¬
pending of course on the size of the area
to be lighted, the action, or the number
of people involved. Where the area is
large and there is the time for it, we
usually send out an electrician in ad¬
vance to run a special line to carry the
added load.
We use mostly fast DuPont Type 930
and Type 931 films with their 100 per
cent increase in reversal-processing
speed. To date, we have shot, processed
and televised about 2,000,000 feet of
film. The processing procedure recom¬
mended for the films automatically estab¬
lished an ASA rating of approximately
125 for the use of Type 931 in interiors.
This calls for roughly 8000 watts of
light on a small size set or location in¬
terior.
In the beginning, the station consid-
(Continued on Page 234)
EDITING Joe Floyd (right), owner of KELO-TV, discusses a TV film sequence with editor Jim
Unzicker. Note racks in background where are filed commercials and spot announcements, etc.
204
American Cinematocrapher
April, 1955
EASTMAN
PROFESSIONAL
MOTION PICTURE
FILMS
W. I. GERMAN, Inc.
John Street 6040 N. Pulaski Road 6677 Santa Monica Blvd.
Fort Lee, New Jersey Chicago 30, Illinois Hollywood 38, California
Academy Award Winners
MILTON KRASNER, ASC, who received 1954
Academy Award “Oscar” for best photography
of a color production — “Three Coins in the
Fountain.”
BESIDES AN “OSCAR” for best black-and-white
photography of “On the Waterfront,” Boris
Kaufman, ASC, also received the annual Look
Award and Golden Globe Award of Hollywood
Foreign Correspondent’s Association for pho¬
tography of the same picture.
Milton Krasner and Boris Kaufman cited for
best photographic achievements of 1954.
Two names, both new, were added to
the roster of “Oscar” winners for
cinematography this year, when Milton
Krasner, A.S.C., and Boris Kaufman,
A.S.C., received Academy Awards last
month for photographic achievement.
Krasner was awarded an “Oscar” for
best photography of a color film, as
result of his outstanding camera work
on the Twentieth Century-Fox Cinema-
Scope production, “Three Coins In The
Fountain.”
Kaufman received his “Oscar’ for
best achievement in photography of a
black-and-white film — the Horizon-
American-Columhia Pictures’ produc¬
tion “On the Waterfront.”
Occasion was the twenty-seventh an¬
nual awards presentation ceremonies of
the Academy of Motion Picture Arts
and Sciences held jointly in Hollywood
and New York, and televised nationally
by NBC.
Of the two winners for cinematogra¬
phy, only Krasner was present in Holly¬
wood to accept his award. Kaufman ac¬
cepted his “Oscar” in the Century
Theatre in New York, where many
other Academy Award nominees were
also gathered.
It is the first time that either director
of photography has graced the winners’
circle in the annual “Oscar” derby.
Milton Krasner has been a contender
on two previous occasions. “Arabian
Nights,” which he photographed in
1941, was nominated for a cinematogra¬
phy award the following year, and he
was among the cinematography award
nominees again in 1951 for his photog¬
raphy of the black-and-white produc¬
tion, “All About Eve.” Boris Kaufman,
who only recently came to this country
from France, has no previous nomina¬
tions to his record. However, prior to
the Academy Awards, Kaufman had al¬
ready received the Look Award and
the Golden Globe Award of the Holly¬
wood Foreign Correspondent’s Associ¬
ation for the photography of “Water¬
front.”
Voted “Best Picture of 1954” by the
Academy, the salient feature of “On
the Waterfront” is the stark and im¬
aginative black-and-white photography
rendered by Boris Kaufman’s artistic
lighting and skillful camera treatment.
The manner in which he took advantage
of the bleak, wintry atmosphere that
prevailed to point up the portrayals set
in waterfront docks and slums, is a dis¬
tinct credit to his cinematic artistry. In
other instances, Kaufman’s searching
camera missed nothing that would give
the picture superior dramatic impact —
huge, full-head closeups of off-balance
silhouettes are memorable highlights in
this picture that exposes gangsterism
on the rampage along the east coast
waterfront.
Milton Krasner’s photographic achieve¬
ment represented by the beautiful color
photography of “Three Coins In the
Fountain” is marked by many art¬
fully composed exteriors of the Italian
countryside. There have been quite a
number of major productions filmed in
Italy in recent years, but Krasner cap¬
tured native Italian scenes with an art¬
istry as yet unmatched by any other
cinematographer. Equally artistic are
the many interiors, where the lighting
KARL FREUND, ASC DAVID S. HORSLEY, ASC LOREN L. RYDER, ASC JOHN R. BISHOP, ASC RALPH HAMMERAS, ASC
Scientific Award Scientific Award Scientific Award Scientific Award Best Special Effects
206
American Cinematographer
April, 1955
and the composition easily vie for
honors with the natural beauty of the
exterior scenes. In all, “Three Coins In
The Fountain’’ is an unforgettable pho¬
tographic gem, and easily deserved the
Academy award accorded it. With
two previous Academy Award nomina¬
tions to his credit, it was inevitable that
sooner or later Krasner would make the
winner’s circle and take home an
“Oscar.”
In all, ten major film productions of
1954 were nominated for cinematogra¬
phy awards by the Academy. The seven
directors of photography who had
nominated pictures in the running, in
addition to Krasner and Kaufman,
have each received a Nomination Cer¬
tificate from the Academy, which in
itself is considered something more than
a consolation award in the industry.
These cinematographers and their nom¬
inated pictures are:
Robert Burks, A.S.C., “The Rear
Window,” Paramount.
George Folsey, A.S.C., “Executive
Suite,’ and “Seven Brides For Seven
Brothers,” Metro-Goldwyn-Mayer.
Charles Lang, Jr., A.S.C., “Sabrina,”
Paramount.
John Seitz, A.S.C., “Rogue Cop,”
Metro-Goldwyn-Mayer.
Leon Shamroy, A.S.C., “The Egyp¬
tian,” 20th Century-Lox.
William V. Skall. A.S.C., “The Silver
Chalice,” Warner Brothers.
John F. Warren, “Country Girl,”
Paramount.
Five other A.S.C. members figured
directly or indirectly in the Awards for
special effects, scientific or technical
achievements. Karl Freund, A.S.C., and
Frank Crandell jointly received the
Academy’s Class III Scientific and Tech¬
nical Award for the design and develop¬
ment of a direct-reading brightness spot
meter.
David S. Horsley, A.S.C., until re¬
cently head of the special photographic
effects department at Universal-Inter¬
national studios, received a Class III
Scientific and Technical Award for the
development of a portable remote con¬
trol device for process projectors.
Loren L. Ryder, A.S.C., and John R.
Bishop, A.S.C. , along with members of
Paramount Pictures’ technical and en¬
gineering staff, received a Class I Sci¬
entific and Technical Award “for de¬
veloping a method of producing and
exhibiting motion pictures known as
Vistavision.” Ryder is head of Para-
mounts engineering department ; Bishop
is head of that studio’s camera depart¬
ment.
It is the Academy’s custom to make
awards for special Effects in the name
of the studio producing the picture
nominated for the award. This year, the
award went to Walt Disney Studio for
( Continued on Next Page)
ROSTER
OF “OSCAR” WINNERS FOR CINEMATOGRAPHY
1928
to 1954
Year
Class.
Cameraman
Picture Title
Studio
1954
B&W
Boris Kaufman, A.S.C.
“On the Waterfront”
Col.
1954
Color
Milton Krasner, A.S.C.
“Three Coins in the Fountain’
’ Fox
1953
B&W
Burnett Guffey, A.S.C.
“From Here To Eternity”
Col.
1953
Color
Loyal Griggs, A.S.C.
“Shane”
Para.
1952
B&W
Robert Surtees, A.S.C.
“The Bad and the Beautiful”
MGM
Color
j Winton Hoch, A.S.C.
/Archie Stout, A.S.C.
| “The Quiet Man”
Argosy
1951
B&W
William Mellor, A.S.C.
“A Place In The Sun”
Para.
Color
j Alfred Gilks, A.S.C.
/John Alton, A.S.C.
j- “American In Paris”
MGM
1950
B&W
Robert Krasker
“The Third Man”
British
Color
Robert Surtees, A.S.C.
“King Solomon’s Mines”
MGM
1949
B&W
Paul Vogel, A.S.C.
“Battleground”
MGM
Color
Winton Hoch, A.S.C.
“She Wore Yellow Ribbon”
R.K.O.
1948
B&W
William Daniels, A.S.C.
/Joseph Valentine, A.S.C.
“The Naked City”
)
U-I
Color <
William V. Skall, A.S.C.
1 Winton Hoch, A.S.C.
> “Joan Of Arc”
R.K.O.
1947
B&W
Guy Green
“Great Expectations”
Rank-U-I
Color
Jack Cardiff, A.S.C.
“Black Narcissus”
Rank-U-I
1946
B&W
Arthur Miller, A.S.C.
/Charles Rosher, A.S.C.
“Anna And King Of Siam”
)
Fox
Color •
Leonard Smith, A.S.C.
(.Arthur Arling, A.S.C.
^ “The Yearling”
MGM
1945
B&W
Harry Stradling, A.S.C.
“Picture Of Dorian Gray”
MGM
Color
Leon Shamroy, A.S.C.
“Leave Her To Heaven”
Fox
1944
B&W
Joseph LaShelle, A.S.C.
“Laura”
Fox
Color
Leon Shamroy, A.S.C.
“Wilson”
Fox
1943
B&W
Arthur Miller, A.S.C.
“Song Of Bernadette”
Fox
Color
Hal Mohr, A.S.C.
W. Howard Greene
- “Phantom Of The Opera”
Univ
1942
B&W
Joseph Ruttenberg, A.S.C.
“Mrs. Miniver”
MGM
Color
Leon Shamroy, A.S.C.
“The Black Swan”
Fox
1941
B&W
Arthur Miller, A.S.C.
“How Green My Valley”
Fox
Color •
Ernest Palmer, A.S.C.
Ray Rennahan, A.S.C.
• “Blood And Sand”
Fox
1940
B&W
George Barnes, A.S.C.
“Rebecca”
Selznick
Color
George Perrinal
“Thief Of Bagdad”
Korda
1939
B&W
Gregg Toland, A.S.C.
“Wuthering Heights”
Goldwyn
Color
Ernest Haller, A.S.C.
Ray Rennahan, A.S.C.
“Gone With The Wind”
Selznick-MGM
1938
Joseph Ruttenberg, A.S.C.
“The Great Waltz”
MGM
1937
Karl Freund, A.S.C.
“The Good Earth”
MGM
1936
Tony Gaudia, A.S.C.
“Anthony Adverse”
WB
1935
Hal Mohr, A.S.C.
“Midsummer Night's Dream”
WB
1934
Victor Milner, A.S.C.
“Cleopatra”
Para.
1933
Charles B. Lang Jr., A.S.C.
“A Farewell To Arms”
Para.
1932
Lee Garmes, A.S.C.
“Shanghai Express”
Para.
1931
Floyd Crosby, A.S.C.
“Tabu”
Para.
1930
!
William Van Der Veer j
Joseph T. Rucker ^
“With Byrd At So. Pole”
Para.
1929
Clyde DeVinna, A.S.C.
“White Shadows In So. Seas”
MGM
1928
1
Charles Rosher, A.S.C. /
Karl Struss, A.S.C. \
“Sunrise”
Fox
American Cinematographer
April, 1955
207
the special effects in “20,000 Leagues
Under The Sea.” Individual credit for
this achievement goes to Ralph Ham-
meras, A.S.C., director of special effects
for Disney, and members of his staff.
Other major awards presented by the
Academy this year are as follows:
Best Motion Picture: “On the Water-
front.”
Best Actress: Grace Kelly, “The
Country Girl,” Paramount.
Best Actor: Marlon Brando, “On the
Waterfront.”
Best Supporting Actress: Eva Marie
Saint, “On the Waterfront.”
Best Supporting Actor: Edmond
O'Brien, “Barefoot Contessa," Figaro-
United Artists Production.
Best Direction: Elia Kazan, “On the
Waterfront."
Best Motion Picture Story: Philip
Yordan, “Broken Lance,” 20th Century-
Fox.
Best Screenplay : George Seaton, “The
Country Girl,” Perlberg-Seaton, Para¬
mount.
Best Story and Screenplay : “On the
Waterfront.”
Best Art Direction: (black-and-white)
Richard Day, “On the Waterfront.”
(Color) John Meehan, “20,000 Leagues
Under The Sea,” Walt Disney.
Best Set Decoration: Emil Kuri, “20,-
000 Leauges Under The Sea.”
Best Costume Design: (black-and-
white,) Eidth Head, “Sabrina,” Para¬
mount. (Color) Sanzo Wada. “Gate of
Hell,” Daiei-Edward Harrison Produc¬
tions, Japan.
Best Film Editing: Gene Milford, “On
the Waterfront.”
Best Sound: “The Glenn Miller
Story,” Universal-International. Leslie
I. Carey, sound engineer.
The selection of eligible films for the
Academy’s annual awards for photog¬
raphy begins with the cinematographers
themselves. The first of January, each
director of photography in the Holly¬
wood motion picture industry is invited
to nominate one black-and-white and
one color feature production on which
he has received sole or joint screen
credit. Titles of these films are then in¬
cluded in a preliminary ballot, which is
then sent to all directors of photography
in the industry.
In addition to the two pictures of his
own filming which he may nominate,
each director of photography at his own
discretion may also nominate any one
eligible black-and-white and one eligible
color foreign production which he deems
worthy of Academy consideration. Thus.
many foreign-made films have a chance
to compete with Hollywood productions
for the Academy’s cinematographic
awards. Films are considered eligible
for the Academy’s consideration when
they have been exhibited publicly in
Los Angeles in a consecutive run of not
less than one week, after an opening
prior to midnight December 31st.
On receipt of the preliminary ballot,
which contains the names of all the films
entered by the various directors of pho¬
tography, each man then votes for ten
(or less) productions in each classifica¬
tion, in the order of his preference.
When the Academy tabulates the votes,
the twenty productions receiving the
greatest number of votes are then
screened by the Academy to give all di¬
rectors of photography opportunity to
evaluate them under uniform screen
conditions.
Following these screenings, which are
spread over a period of two weeks, a
nomination ballot listing the ten black-
and-white and ten color productions is
mailed to all directors of photography
with instructions to vote for five in each
class which they consider best, listing
them in order of preference. Following
the final Academy tabulations, the five
( Continued, on Page 244)
★ ★★★★★★★★★★★★★★★★★★★ ★★★
Golden Globe And Look Award Winners
JOSEPH RUTTENBERG, ASC, receives Golden
Globe award from actress Taina Elg for best
color photography of M-G-M’s “Brigadoon.”
While the Academy “Oscar” is con¬
sidered the major annual award among
•directors of photography, there are other
significant and important awards which
are bestowed annually for achievement
in cinematography. They are the Gold
en Globe Award of the Hollywood
Foreign Correspondents' Association,
the Look Award sponsored by Look
magazine, and the “Emmy” of the Acad¬
emy of Television Arts and Sciences,
which is described elsewhere in this
issue. No less important are the cita¬
tions for best photography of a motion
picture which is included each year in
Film Daily’s “Filmdom’s Famous Fives.”
Winner of this year’s Golden Globe
Award for the best photographed color
production of 1954, was Joseph Rutten-
berg, A.S.C., for the photography of
the Metro-Goldwyn-Mayer production.
“Brigadoon.” This artfully photographed
color film, while it was among the or¬
iginal list of productions submitted for
Academy consideration, failed to sur¬
vive in the final balloting which would
have placed it among the Academy s
five color production nominees.
Ruttenberg’s photography is invari¬
ably of championship calibre, as his
many photographic awards attest. He
won an Academy Award in 1939 for
photography of “The Great Waltz,’ and
again in 1943 for the photography of
“Mrs. Miniver.”
The Golden Globe Award for black-
and-white photography this year was
awarded Boris Kaufman. A.S.C., for
“On the Waterfront.” Look magazine
which makes a single annual award for
achievement in cinematography, also
chose “On the Waterfront" for best
photography this year bringing the to^al
of awards to three received this year
by Kaufman for the same picture.
In December each year, Film Daily,
motion picture trade paper, polls the
nation’s film reviewers, motion picture
correspondents, columnists, editors and
commentators to select the best five pho¬
tographed pictures, in addition to the
best five achievements in other classi¬
fications of motion picture production.
“On the Waterfront” was one of the
five productions named in Film Daily’s
list of Best Photographed Pictures.
Others were, “Three Coins in the
Fountain,” photographed by Milton
Krasner, A.S.C. ; “White Christmas,”
photographed by Loyal Griggs, A.S.C. ;
“Rear Window," photographed by Rob¬
ert Burks, A.S.C.; and “The Egyptian,”
filmed by Leon Shamroy, A.S.C.
★ ★★★★★★★★★★★★★★A**** ★★★
208
American Cinematographer
April, 1955
An "Emmy" For
Cinematography
Lester Shorr wins first ATAS trophy
awarded for TV film photography
By LEIGH ALLEN
Anew and important photographic award was presented
for the first time this year for achievement in motion
picture photography.
The annual awards of the Academy of Television Arts
and Sciences this year included an “Emmy” for the best
direction of photography of a filmed television show.
It went to Lester Shorr for the photography of “I Climb
The Stairs,” a film in the currently popular “Medic” televi¬
sion series.
With the tremendous weekly output of television films now
requiring the services of more directors of photography
than does feature film production, the annual “Emmy”
award for TV film photography assumes an importance to
cinematographers comparable to that of the now famous
“Oscar” awarded by the Academy of Motion Picture Arts
and sciences for theatrical film photography.
Although only one “Emmy” was awarded this year, it
is likely that the award will be increased to two or more
LESTER SHORR holds “Emmy” presented him last month by the
Academy of TV Arts and Sciences for best Direction of Pho¬
tography of a television film — that of “I Climb The Stairs” in
the popular “Medic" television series.
“EMMY” — annual trophy award of the Academy
of Television Ars and Sciences for artistic and
technical achievements in television.
in future years. It was so in the very beginning of the
“Oscar” awards; only one was awarded for cinematography
for a number of years, until the production of films in color
became general. Then the award was increased to two — one
for each classification.
The television academy — ATAS — is still a young organi¬
zation, but growing in importance each year. Its decision
to present annually an “Emmy” for achievement in TV film¬
ing is considered a wise and important move for the Aca¬
demy.
There were only eight television stations on the air in the
United States in November, 1946, when the Academy of
Television Arts and Sciences was formed in Hollywood by
a group of seven men, as a non-profit organization dedicated
to the advancement of television.
Edgar Bergen was named first president of the Academy,
which, from its small beginning nearly nine years ago, has
grown to a membership today of more than 700. President
of the ATAS now is Don DeFore, who took office last year.
“Emmy,” nationally famous award statuette of the Acad-
demy, has a history all its own. It was designed by artist
Louis McManus, and named by Harry R. Lubcke, the Acad¬
emy’s president in 1949. The name was derived from the
word “Immy,” an engineering term relating to the Image
Orthicon camera.
The 34 National “Emmy" Awards for 1954. plus the
seven Hollywood Achievement Awards made at the presen¬
tation ceremony last month, contrast sharply with the first
dinner in 1948 when only four awards were made. Five
years ago eleven “Emmy” awards were presented. The
awards for ’54 more than doubled the number of awards
given for 1953.
The acquisition by Lester Shorr of the first “Emmv to be
( Continued, on Page 230 )
American Cinematographer
April, 1955
209
Shooting "Oklahoma!"
In Todd-AO
Some of the differences in photographic technique
which this newest of wide-screen systems demands
of the director of photography.
By HERB A. LIGHTMAN
The last frame of the last added scene of Rodgers & Ham-
merstein’s “Oklahoma!” had just been shot by director
of photography Robert Surtees, A.S.C. The giant Todd-AO
65mm cameras had been packed away in the M-G-M camera
department; and the last-lap frenzy of editing, dubbing and
printing was going full steam ahead to insure the summer
release of this record-breaking stage musical in a totally
new screen format.
Lunching with Surtees in the M-G-M commissary, I asked
him: “Now that you’ve finished the picture, what problems,
if any, did you encounter in shooting the ultra-wide screen
Todd-AO format that you have not normally encountered
when shooting pictures in conventional ratios?
“One of our greatest problems, perhaps, was that we had
too much of a good thing,” Surtees said. “By that I mean
there is so much to look at in the huge Todd-AO frame that
at times we were forced to use special measures to focus
audience attention on the one single element that was im¬
portant. We would do this sometimes by concentrating light
on a particular subject, letting the rest of the composition
fall off in intensity. Or we would frame the composition
with a foreground object that would effectively cut off
excess area at the sides of the frame. We almost never
ROBERT SURTEES, ASC, “Oscar” winning director of photography
(left) behind the Todd-AO camera on location in Arizona. “When
we started ‘Oklahoma’,” said Surtees, “we had no precedents to
go by — no technical data to refer to. We felt like real pioneers!”
TODD-AO camera lenses are classified according
to angle of coverage, instead of focal length, as
with other motion picture camera lenses. Above
are, from left to right, the 37°, 64°, and 48’
lenses. Diagram below shows comparative angles
of coverage of the three lenses.
centered anyone in a scene; the overall composition was
important, and we let the actors move within it rather than
pan the camera to keep them centered. When we did pan,
we were usually behind the subject instead of centering
or leading. This technique was arrived at in advance fol¬
lowing much talk, experimentation and plotting of action
on a model of the farm set we used.”
Discussing the new method further, Surtees observed:
“The Todd-AO process is ‘good theatre.’ It has a showman¬
ship quality all its own and it’s a very exciting medium for
telling a story. Optically, Todd-AO is a very superior pic¬
ture process. It offers crisp definition in color such as never
obtained before and its picture proportions (from the cam¬
eraman’s standpoint) are ideal — better than the usual 3-to-4
ratio or the elongated frame of anamorphic systems.
“The superior screen quality of Todd-AO is easily under-
AUTHENTIC format of the Todd-AO picture area on the screen is
represented by this picture of one of the major exterior sets which
the Rodgers & Hammerstein company erected near Nogales, Arizona
for major scenes in “Oklahoma!”
HERE THE Todd-AO camera and a CinemaScope camera work
side by side in one of the few instances where both were able
to shoot the same scene simultaneously. Reflectors instead of
arc lamps supply fill light for scenes of cattle roundup.
MUSICAL NUMBER staged in the barnyard for “Oklahoma!” In
scenes of this kind, if was necessary to shun as much as possible
direct across-the-screen action to avoid b!urr. Instead, such action
was staged coming toward camera either directly or on an angle.
stood when one considers that Todd-AO 65mm film is in¬
variably projected at the same distance as 35mm. The ratio
of blowup is therefore not as great, and better definition
results.”
In the very beginning, Surtees said, they made exhaustive
tests of the Todd-AO cameras and lenses; the company
spent several months in preparation before starting to shoot
the production. It was during this interval that the system’s
good points and its few limitations were discovered and a
basic shooting procedure established. “Old rules were
tossed out the window and new ideas tried,” said Surtees.
One of Rodgers & Hammerstein’s initial decisions was to
shoot the production in CinemaScope as well as Todd-AO.
This suggested that each scene would be shot with the two
cameras working virtually side by side. Actually, Surtees
said, it turned out that only about ten scenes in the whole
production were shot that way. The ultra-wide scope of the
Todd-AO lenses rarely would permit the CinemaScope
camera to work alongside it. The plan was changed very
(Continued, on Page 243)
American Cinematocrapher
April, 1955
211
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Suiting The Lens To The Scene
Know your lenses — their capabilities and their limitations —
in order to employ them properly in cinematography.
Motion picture lenses, like the
tools of any trade, produce best
results when used correctly. That is
why, in the photography of anything
more advanced than the simplest of
home movies, it is important that the
proper lens be selected to bring out the
best in the scene to be photographed.
The selection of a lens to suit the
scene (all other things being equal) is
mostly a matter of focal length, a term
which is defined as meaning the dis¬
tance from the optical center of the lens
to the film plane of the camera.
The novice 16mm cameraman is con¬
fronted with a bewildering variety of
lenses in a wide range of focal lengths.
Generally speaking, these fall into three
categories: wide-angle lenses, standard
lenses and telephotos. For 16mm cam¬
eras the most popular wide-angle lens is
a 15mm. The standard lens is 1-inch or
25mm. The telephotos start at 2 inches
and range up to 16 inches focal length—
although the most widely used lengths
are 63mm, 4-inch and 6-inch.
In order to understand how each of
these lenses should be used for the
optimum result, it is necessary to re¬
view certain basic optical characteristics
By CHARLES LORING
which include or depend upon focal
length :
1. Depth of field — Defined as “the
distance from the nearest to the farthest
object in acceptable focus when the lens
focus scale is set at a given distance.”
The term “acceptable,” in this case, is
open to certain scientific debate, but it
has been arbitrarily settled through the
compilation of mathematical depth of
field tables for each lens. These charts
are available in card or handbook form
at most movie supply dealers.
It is an axiom that the longer the
focal length of a lens, the narrower its
depth of field. The smaller the aperture,
the greater the depth of field. When a
lens is focused on a distant object the
depth of field is greater than when the
same lens is focused on a closer object.
2. Hyper focal Distance — Defined as
"the closest plane in acceptable focus
when a lens focus scale is set at ‘in¬
finity’.” Setting the lens scale at the
hyperfocal distance results in a maxi¬
mum depth of fieid, for it is a law of
optics that everything from one-half
that distance to infinity will be accept¬
ably sharp.
The hyperfocal distance varies with
the focal length of the lens and the
aperture used. The larger the lens or
the wider the aperture, the more dis¬
tant from the lens will fall the hyper¬
focal distance, resulting in a narrower
depth of field. Hyperfocal distance
scales are also available in card or
handbook form.
The American Cinematographer hand¬
book contains depth of field and hyper¬
focal distance scales for all the most
popular focal lengths of lenses for
16mm and 35mm photography.
3. Image size and angle of coverage
vary with the focal length of the lens.
The longer the lens, the greater the
image size and the narrower the angle
of view.
On the basis of focal length we have
divided lenses into three general cate¬
gories. The wide-angle lenses, the
standard lenses and the telephotos. Let
us examine each of these in order to
establish their characteristics and see
how each may best be applied in shoot¬
ing certain scenes.
The Standard Lens: The 1-inch or
25mm lens is considered the standard
lens for 16mm motion picture photogra-
( Continued on Page 238 )
LENSES of different focal length produce not only a difference in
image size, but an altered rendition of perspective as well. The
angle shot (left, above) of a building, photographed with a stand¬
ard one-inch lens, forms an interesting compositional pattern; but
the effect is even more dramatic when photographed with a 15mm
wide-angle lens (right). Here, the greater image size not only
gives more scope to the scene, but the exaggerated perspective
of the converging lines creates an especially forceful composition.
American Cinematographer
e
April, 1955
o
213
Experiments With The Camera
Norman McLaren has exploited every known cine¬
matic trick, and has invented a few himself.
By HAROLD BENSON
IN the realm of exploratory cinematog¬
raphy few, perhaps, have attained the
prominence of Norman McLaren. His
very first motion picture him was made
without a camera — an accomplishment
which was described in my article m
the January issue. Sometime later, how¬
ever, he turned to the more orthodox
approach and produced “Seven Till
Five,” which he describes as a “formal¬
ized documentary of a day’s activity
at Glasgow Art School.”
However, McLaren could never be
satisfied with conventional camerawork,
and the title of his next him, “Camera
Makes Whoopee,” was appropriate. This
600-ft. 16mm production exploited all
the trick effects he could think of, using
a school Christmas ball as a central
theme. Before leaving Glasgow he made
“Hell Unltd.,” an anti-war him which
used both straightforward photography
and his own cameraless animation tech¬
nique.
McLaren’s first hlms for the General
Post Office Unit in London were docu¬
mentaries, but he found scope for his
passion for animation and trickery in
“Mony A Pickle,” a fantasy publicising
the Post Office savings bank. In this
very short (200 ft.) him he told a
simple story of animating household
furniture by single frame methods. In
1939 he made “The Obedient Flame,”
a him on cooking gas, again using a
combination of techniques with and
without a camera.
During McLaren’s New York period
and his early days with the National
Film Board of Canada he ignored cam¬
eras almost completely, concentrating on
experiments in direct paint-on-hlm
treatments. But in 1945 he made “C’Est
L’Aviron,” one of the French-Canadian
folk song series made under the collec¬
tive title “Chants Populaires.” For
“C’Est L’Aviron” McLaren returned to
the camera — the animation camera, of
course.
He utilized the zoom stand, the device
which allows the camera to approach
or to recede from the animation table,
in such a way that he created a very
real sensation of a third dimension.
Spectators feel that they are passengers
in a canoe gliding down a great river.
The illusion was obtained in the fol¬
lowing way.
Several hundred paintings, each about
eighteen inches by twenty-four, were
made with white paint upon black
cards. Only one plate of the landscape
was painted on each of the cards. As
each card lay on the animation table it
was filmed with the camera moving
towards it on the zoom stand. Then the
film was wound back a little in the
camera so that the next painting was
superimposed over the end of the first.
This was done throughout the whole
length of the film, resulting in an op¬
tically achieved multiplane effect. Mc¬
Laren called this animation method “a
continual series of overlapping stag¬
gered zooms.” Finally he superimposed
images of the prow of the canoe op¬
tically. “In C’Est L’Aviron,” he says,
“there were often as many as six or
seven separate exposures made on the
same negative.” When the National
Film Board later produced a prize¬
winning film on cancer, the director
pointed out that its animation sequences
would have been impossible but for
McLaren’s experiments in “C’Est L’Avi¬
ron.”
“Keep Your Mouth Shut,” yet an¬
other mixture of cameraless technique
and photography, was made by Mc¬
Laren in the same year, and in 1946
he tried a further experiment in camera¬
work. Working on “La-Haut Sur Ces
Montagnes.” another in the “Chants
Populaires” series, he evolved what he
calls the “pastel method.”
Describing the basic idea, McLaren
wrote in Documentary Film News, “In
doing oil paintings myself, and in
watching other painters at their can¬
vases, it often seemed to me that the
evolution . . . from its virgin state to
(in my own case) its soiled and bat¬
tered conclusion was more interesting
than the conclusion itself. Why not,
therefore, consciouslv switch the focus-
point of all the effort from the end
condition and spread it over the whole
process? In other words, do a painting,
but put the emphasis upon the doing
rather than the painting — on the process
rather than on the end-product.”
Watching the painting grow and
change provided such a fascinating film
that McLaren produced “A Little Phan¬
tasy On A 19th Century Painting” (also
known as “Isle Of The Dead”) and “La
Poulette Grise" by the same method.
This is how he described the technique
of the latter, again in Documentary
Film News.
(Continued on Page 230)
DURING HIS early days with National Film Board of Canada, Norman McLaren ignored
cameras almost completely, concentrating on experiments in direct paint-on-film treatments.
The Moviola was an important adjunct in the visualization of his film images.
214
American Cinematographer
April, 1955
Bad-weather scenes in "On the Waterfront" are authentic! Location shooting on Type 926
"Superior" 2 during night snowstorms was tough on cameramen — great for atmosphere.
Director Elia Kazan and Director of Photography
Boris Kaufman, ASC, work under cover of a dock
on the Hoboken, N. J., waterfront.
Du Pont warmly congratulates all those
associated with the award-winning
Columbia Pictures Production
ON THE WATERFRONT”
-filmed on Du Pont ’'Superior'* 2
REG.U.s. pat. OFF-
BETTER THINGS FOR BETTER LIVING . . . THROUGH CHEMISTRY
TWENTY-SEVENTH ANNUAL AWARDS
THE
Columbii Pictures
mure Arts & Sciences
dges
the re
given
Academy of Motion
BORIS
, A.S.C.
BEST BLACK-
CADEMY OF MOTION PICTURE ARTS AND SCIENCES
TWENTY-SEVENTH ANNUAL AWARDS
from Thomas A. Edison through
20th Cenfu
f^roudfi
MILTO
66
Motion Picture
Best Color
THREE COIN
ox Studios
ratufate
A.S.C.
BAUSCH & L
y Award
ography
FOUNTAIN”
PTICAL CO.
ACADEMY OF MOTION PICTURE ARTS AND SCIENCES
TWENTY-SEVENTH ANNUAL AWARDS
Our Sin ■ e Thanks
This D i s t i
ished Award
KARL
FRAN
, A.S.C.
ANDELL
PHOTO
SCIENTIFIC AN
# /
RCH CORP
AWARD
Design and Development- of a Direct-
Reading Brightness Spot Meter.
# #
ACADEMY OF MOTION PICTURE ARTS AND SCIENCES
AMERICAN SOCIETY OF CINEMATOGRAPHERS
all
Candidates
Nominees
and
Winners
1954 ACADEMY AWARDS
for
Achievement In Cinematography
BLACK-AND-WHITE
Candidates Submitted For Nomination
JOHN F. WARREN — “Country Girl”
JOSEPH BIROC, ASC — “Down Three Dark Streets”
GEORGE FOLSEY, ASC —“Executive Suite”
ELLIS CARTER, ASC — “Human Jungle”
ERIC CROSS — “Little Kidnappers”
BORIS KAUFMAN, ASC — “On the Waterfront”
JOHN F. SEITZ, ASC — “Rogue Cop”
CHARLES B. LANG, JR., ASC — “Sabrina”
CHARLES G. CLARKE, ASC — "Suddenly”
SID HICKOX, ASC — “Them”
Nominees
JOHN F. WARREN — “Country Girl”
GEORGE FOLSEY, ASC — “Executive Suite”
BORIS KAUFMAN, ASC — “On the Waterfront”
JOHN SEITZ, ASC — “Rogue Cop”
CHARLES B. LANG, JR., ASC — “Sabrina”
Academy Award Winner
“On The Waterfront”
BORIS KAUFMAN, ASC
Director of Photography
AMERICAN SOCIETY OF CINEMATOGRAPHERS
*
*
*
*
*
*
-fc
*
*
*
-K
-k
*
-K
all
Candidates
Nominees
and
Winners
1954 ACADEMY AWARDS
for
Achievement In Cinematography
COLOR
Candidates Submitted For Nomination
JOSEPH RUTTENBERG, ASC — “Brigadoon”
LEON SHAMROY, ASC — “The Egyptian’’
JOE MACDONALD, ASC — “Broken Lance’’
ARCHIE STOUT, ASC — "The High and the Mighty’’
ROBERT BURKS, ASC — “Rear Window”
GEORGE FOLSEY, ASC — “Seven Brides For Seven Brothers”
WILLIAM V. SKALL, ASC — “The Silver Chalice”
SAM LEAVITT, ASC— “A Star Is Born”
MILTON KRASNER, ASC — “Three Coins In The Fountain”
FRANK PLANER, ASC — “20,000 Leagues Under The Sea”
Nominees
LEON SHAMROY, ASC — “The Egyptian”
ROBERT BURKS, ASC — “The Rear Window”
GEORGE FOLSEY, ASC — “Seven Brides For Seven Brothers”
WILLIAM V. SKALL, ASC — “The Silver Chalice”
MILTON KRASNER, ASC — “Three Coins In The Fountain”
Academy Award Winner
“Three Coins In The Fountain”
MILTON KRASNER, ASC
Director of Photography
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ERWIN HARWOOD
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A
PROBLEM
IN LIGHTING
Shooting a documentary in color of
modern assembly-line production of
refrigerators in Westinghouse’s giant
new home appliance factory.
By ARTHUR ROWAN
CLOSEUP of testing laboratory operation in the new Westinghouse
appliance factory is being photographed here by director of pho¬
tography Walter Strenge, A.S.C., using the Mitchell “16” camera.
One of the major problems which every cameraman
faces in planning the photography of an on-location
business film is that of lighting. Unlike when photographing
a production on a conventional studio sound stage, where
both the conditions and shooting practices are pretty much
the same from picture to picture, each on-location assignment
invariably presents unknown factors in the matter of total
space to be lit, the power available for lighting — if any, and
the amount of lighting equipment that must be brought in.
Such was the situation faced recently by Walter Strenge,
A.S.C., when assigned by Roland Reed Productions, Holly¬
wood. to photograph a 15-minute 16mm color production for
Westinghouse Electric Company at its new plant in Colum¬
bus, Ohio. In between assignments of this kind, Strenge
photographs the popular “My Little Margie” and “Water¬
front” television film series, also produced by Roland Reed.
Westinghouse had just completed in Columbus what is
regarded the largest single factory devoted to the production
of home refrigerators. The assignment called for documenting
the manufacture of Westinghouse refrigerators from the fab¬
rication of metal components, through the assembly, finish¬
ing, testing, packing and shipping, and finally the installation
of a refrigerator in the home of a typical American buyer.
Among the features that were to be emphasized in the film
BELOW is scene of an assembly line oper¬
ation in the fabrication of Westinghouse
refrigerator freezer units; and at right —
the camera and the lighting setup that
produced it. Walter Strenge, who acted as
his own operator, is behind the Mitchell
“16” in circle. Note the two “170” high-
intensity arcs used to illuminate scene.
were details of the more important assembly line operations,
and the extent of the modern assembly lines which are geared
to turn out up to 4000 major appliances per day.
A preliminary survey of the plant revealed these facts:
the one-story factory building extended almost a half a mile
in length, its roof covering 45 acres; the plant contained
four manufacturing aisles, each 200 feet wide and extending
approximately 1500 feet, and led in a straight-line produc¬
tion pattern to the warehouse area; the daylight admitted
through the windows was negligible for photography.
A careful check of power sources revealed that same was
supplied by two 39.4 KV lines of the local power company,
but that it would be more advantageous to provide portable
generators to supply power for the lighting equipment that
would be necessary for color photography.
A survey of lighting fixtures in the plant (which some¬
times can supply a measure of photographic lighting) showed
that forty different types of indoor and outdoor lighting fix¬
tures are used; 400-watt and 1000-watt fluorescent mercury
lamps are used in the high bay areas; offices and working
areas are lighted to an intensity of 50 foot candles.
To provide a safe margin of photographic lighting for this
assignment, Roland Reed Productions shipped the following
equipment from Hollywood:
Six Brutes (225 amp. hi-intensity arcs).
Six Type 170’s (150 amp. high intensity arcs) .
Two Duarcs (35 amp. arc lamps) .
Six Seniors (50-amp. incandescent spots with filters).
Twelve Skypans (with 50-amp. incand. lamps).
Eight Cinelites.
Two sets of Colortran lights.
175 pieces of feeder cable 100-ft. in length.
Eight 50-ft. plugging boxes.
Six 50-ft. 3-wire cables.
Twenty-four spiders (connecting blocks).
One 650-amp. gas generator.
One 1350-amp. gas generator.
Strenge’s production crew, brought from Hollywood, con¬
sisted of 2 gaffers, 1 generator man, 6 electricians, 1 grip,
and one assistant cameraman. Eight electricians and 2 grips
were also hired through the local Pinion.
Strenge used a Mitchell 16mm camera and 16mm Com¬
mercial Kodachrome film. Holding the lighting to within the
limits of the color temperature established for the film was
achieved through use of the Photo Research Corp. Spectra
Color Temperature meter, and appropriate filters placed on
the camera lens. Color temperature ranged from 3200 to as
high as 6000 degrees Kelvin. A light level of 1100 foot can¬
dles, established for most interior shots, enabled him to
work with a lens stop of f/2.8.
Before starting actual production, a number of tests were
shot, developed and printed by Consolidated Film Industries
laboratory, and air-mailed to Strenge for study — -a safety
measure that insured good color quality in the film as well
as giving the answers to several ticklish lighting problems.
Industrial plants are notably lacking in color. So, this
being a color production, Strenge was challenged to inject
something in the way of contrast and color to offset the mono-
tones and at the same time highlight compositions. He re¬
sorted to a trick he once employed in shooting another in¬
dustrial film, where a similar situation was encountered.
Obtaining a number of metal trash barrels, he had them
painted in various colors and spotted prominently in the
longer shots. In addition to lending color to the scene, they
also had a tendency to give depth to the composition by
suggesting a multiple of planes. Colored fire extinguishers
were also used in this manner, being re-positioned in a scene
where color relief or accent was required.
The accompanying photos show some of the factory
(Continued on Page 231)
THANKS to a battery of six powerful Brute arcs, brought from Hol¬
lywood, there was ample illumination for every factory interior.
WALTER STRENGE lines up the camera for a doseup of a metal
stamping operation. Here light is supplied by two “170” arc units.
PAINTING ROOM was only place where open flame arc lamps
could not be used for illumination. Instead, powerful incandescent
lamps were used to light this scene. Director of photography
Strenge, center, is taking a meter reading of the light.
American Cinematographer
April, 1955
223
A Plea To Congress Via Film
How a 75-day deadline was met by Forney Films, Inc., assigned
to produce an “argument on film” favoring the development of
one of the West’s great potential water and power sources.
By C. M . HOWE
President Forney Films, Inc., Ft. Collins, Colorado
One OF THE more unique applications of motion pictures,
perhaps, is the factual presentation before Congress
of a vital project proposal up for its consideration. This
was the purpose behind “Birth of a Basin,” which our
company, Forney Films, produced for the Upper Colorado
River Basin Commission. In addition to the showing in
Washington, D.C., the film is scheduled to be screened
throughout the nation and is also to be televised.
The Upper Colorado River Basin covers roughly 110,000
square miles and encompasses parts of the states of
Wyoming, Utah, Colorado, New Mexico, and Arizona. The
proposed basin project includes plans for six major dams
and involves fifteen subsidiary or participating projects. It
is a billion-and-a-half dollar undertaking that will make
TVA and the Hoover and Bonneville dams look small by
comparison. The commission is composed of representatives
from the Upper Colorado River Basin states appointed by
their respective State Governors; they are devoted to the
task of getting the project passed by the 84th session of
Congress. At stake is the development of the West — rich
in undeveloped resources, and badly in need of water and
power.
When our company’s representative brought us the pro¬
duction contract on November 1st, 1954, the foregoing
facts plus 20.000 pages of six-point type consisting of the
transcript of the House and Senate hearings of the 83rd
.f — ^ ■
*
Congress were all we had to start with. When we asked
about the date set for delivery of the finished film, our man
said simply, “The 14th of January.”
“1956?”, our production man asked. When he was told
“January 14, 1955,” tops were blown all over the place and
everybody went to man their stations. The eight-hour work¬
ing day was discarded; wives of staff members were in¬
formed there would be a late Christmas . . . and away we
went!
Six days and nights later a script was ready for presenta¬
tion to the sponsoring Commission. Meantime, our camera
crews already were scouting location sites and shooting foot¬
age that could be used in the production. The author and
sound man Jerry Tunnell set out in the company’s Chevy
station wagon with the following production equipment: a
motor-driven Auricon 16mm sound camera; a Cine Special
plus extra magazines; a Bolex H-16 for use in hard-to-get-at
location sites; and a Magnafilm portable synchronous 16mm
tape recorder plus necessary accessories.
Camera accessories included one-, two-, and six-inch
Wollensak lenses, a one-inch and a wide-angle Ektar, and
a Pan Cinor zoom lens; three tripods; a camera dolly; one
reflector; and a Norwood and a G-E exposure meter.
First day out, we photographed the Seedskadee dam site,
also core drilling operations, grazing sheep, and the land
itself. We were shooting scenes for a picture of dams and
water that existed only in the minds of a few men who were
dedicated to the development of the West. We had as a
guide only a brief outline of script that had not yet been
approved. We were gathering footage for a film that didn’t
even have a tentative title.
Testimonials of native westerners could have a terrific
impact in a picture of this kind, so using the sound camera
and tape recorder, we secured lip-sync shots of farmers and
men in western industry as they stated their views on the
need for development of the Basin project.
Leaving Wyoming, we moved into Utah. To understand
some of the problems that were encountered, consider that
the proposed dam sites in the Basin project are all practically
inaccessible at the present time except by boat. Steep canyon
walls, rising in some places to 3.000 feet above the river,
make it almost impossible to find a place where long
stretches of the river can be viewed from above. This meant
that shots of these sites had to be done by aerial photography.
Harold Doll took to the air in Forney Films’ Beech
“Bonanza” plane. Arriving at the location he shot the re¬
quired footage from the air, using a Bell & Howell 16mm
camera. Doll’s aerial camera coverage included all the dams
in the lower Colorado basin, from Hoover dam on down to
the Gulf of California. Included also was a pictorial record
of the canal and aqueduct system which brings water to
Los Angeles and San Diego, and a comprehensive pictorial
account of the agricultural development that has resulted
from utilization of Colorado river water in the lower basin
area. In all, cameraman Doll covered 27,000 miles by air,
while we covered a mere 2,700 miles in our station wagon.
While Forney cameramen were at work in the field,
another important phase of the production was receiving
attention at our studio in Fort Collins. Here production
manager Ed Hawkins was doing by animation process,
what was impractical or impossible to do in conventional
(Continued on Page 233)
RUGGED AND DESOLATE character of area of proposed water
conservation project is photographed by cameraman Max
Howe. Jerry Tunnell checks the diminishing light with a meter.
GRAPHIC SHOTS of desolate, waterless region in which Navajo
Indians live were made an important part of “Birth of a Basin.”
Navajos stand to gain by development of proposed project.
WHERE THE terrain was rough, the durable Cine Special proved a
dependable camera. Here, scenes marking the division between upper
and lower basin of the Colorado were shot.
American Cinematographer • April, 1955 • 225
Amateur
CINEMATOGRAPHY
Cine Camera Tricks
Continuing last month’s discussion on how to
make trick effects with your cine camera.
By CHARLES LORING
IN MY article last month, I explained
the place of camera tricks in
cine films and pointed out the difference
between camera tricks and special
effects, and described some of the simple
tricks which the average cine filmer can
make without need for complicated
equipment. In this article, some addi¬
tional camera tricks will be described.
Your attention is called to the three
illustrations on this page, which show
three interesting setups for making trick
shots with a cine camera. Fig. 1 shows
a method for making title wipe-offs — the
effect of one title “wiping off” the pre¬
ceding title from the screen. Two title
boards are involved plus two mirrors —
one stationary, and one, double-surfaced,
set to slide on a 45° angle. A wipeoff
is accomplished as follows: Title card on
1st titleboard is photographed for re¬
quired screen time, then sliding mirror
FIG. 2 — Here’s a simple gadget on which to
mount a cine camera for “rocking” or “whirl¬
ing” effects. It is set up on tripod, and sight¬
ing through finder is done through hole in the
rotating disc back of the camera. Pivoting bolt
and nut must be centered with camera lens to
provide accurate rotary action of camera as
it photographs the scene.
at “A-B” is moved forward. This ex¬
cludes first title from view of camera
lens and at the same time brings into
view title card on second title board,
which is reflected into mirror “D” and
thence to the dual-surfaced sliding
mirror.
Figure 2 shows an easy-to-build rig
for making a revolving camera shot, or
a shot such as one would need to suggest
a rocking boat, etc. The assembly con¬
sists of an L-shaped support on which the
camera is mounted. This is attached to
a disc which in turn is attached by
wing-nut and bolt to a second L-shaped
member that mounts directly on camera
tripod. The important thing is to be
sure that the distance from base of
camera to center of lens, indicated at G.
is considered when installing the wing-
nut and bolt. This will insure that same
will be placed on exact lens center and
will insure camera rotating on lens axis.
The L-shaped members should be
made of ^/g-inch strap iron. The disc
may be of plywood ; this should have a
hole cut, as required by the particular
camera used, to facilitate use of camera
finder. A hole drilled and tapped in the
larger L-shaped member for a 14-inch
#20 machine screw will facilitate mount¬
ing the gadget on tripod.
Figure 3 shows a simple method of
using a standard “typewriter” titler for
making mask or split-stage shots in the
absence of an elaborate camera matte
box. With camera mounted on titler
and the auxiliary lens removed (or
folded out of way, as shown in illustra¬
tion), the scene to be shot is centered
in the title card area. The portion to
be masked off is marked on edges of
title card frame and black paper affixed
with scotch tape, as shown. After the
initial stage of the shot is made, the
mask is removed and the former open
area is then masked in a similar manner
and camera now focused on the scene
or subject that is to appear in the upper
FIG. 1 — Simple method for making wipe-off
effects in titles — i.e., one title wiping off an¬
other. Involved are two title boards plus a
single-surfaced and a dual-surfaced mirror. The
latter slides diagonally to create the transition
from one title to the other.
part of the picture frame.
The picture area, represented by the
title card frame, may be masked off
vertically, diagonally, horizontally, or in
any pattern or design that suits the
filmer’s needs.
A precaution, to prevent unnecessary
light striking the masking paper, is to
(Continued on Page 240)
FIG. 3 — Split-stage shots can be made easily
using an ordinary titler having an “open” title
card holder. The auxiliary lens is lowered or
removed entirely. Scene is shot through title
card frame, with the desired portion masked
off by black paper attached with scotch tape.
Masking can be horizontal, vertical, diagonal,
etc., as desired.
226
American Cinematographer
April, 1955
THIS WAS Pablifo’s playground — the ancient
ruins of the Mayas in Yucatan, Mexico. Here
we filmed Pablito at play, made him the cen¬
tral character of our 16mm color fiilm.
A little Indian boy, the ruins of an
ancient Mayan civilization and a
Yucatan jungle were the pictorial ma¬
terials from which our 16mm color film,
“Pablito’s Playground-” was woven. This
eight-minute film was televised recently
hy station KPIX-TV, San Francisco.
Our star was Jaime, an eight-year old
youngster whom we found living near
the Mayan ruins of Chichen-Itza on the
Yucatan peninsula of Mexico. We later
dubbed him Pablito for film purposes.
Although he was eager to help us, he
was never quite sure what we were at¬
tempting to do. The little fellow had a
vague idea of what motion pictures
were, but he had never seen one.
We selected Jaime as our star from
a group of several children we had been
considering as subjects. He proved to be
the most intelligent and cooperative.
And he could work for several hours at
a time without becoming restless or
bored, as some children do.
We began planning our production by
observing Jaime’s daily life. We found
that each weekday he attended classes
in a little one-room school building. But
after school and on weekends, as do
most other youngsters the world over, he
played near his home. His playground,
however, was the neighboring jungle
and the acres of Mayan ruins. We de¬
cided to film this latter phase of his
activities.
Our equipment was meager — a 16mm
Victor model 4 camera with a 1-inch
f/2.5 lens and a 3-inch f/4.5 telephoto,
an exposure meter, a tripod and five
r
L.
Amateur
CINEMATOGRAPHY
Our Movie On TV
It started out simply as a planned documentary
of a day in the life of a rural Mexican boy.
By CLIFFORD HARRINGTON
rolls of color film — all that we could
afford. With only five hundred feet of
film, we had to make each foot count.
With these limitations in mind we
prepared a shooting script. We decided
at the outset to avoid any complicated
plot and concentrate on picturing a
typical afternoon in Jaime’s life. Our
plan was to prepare and use a script
only as a guide in order that we might
take advantage of any unusual incidents
which might crop up. As it later de¬
veloped, the unplanned sequences made
up the bulk of our usable footage.
For example, in our wanderings on
a jungle trail, we came upon a mother
burro and her half grown baby. The
animals were living in a semi-wild state
and were difficult to approach, but
Jaime succeeded in walking cautiously
up to the baby and climbing aboard.
The little beast at first was frightened,
but being a typical burro he stood still.
No amount of coaxing would make him
move. Then, suddenly its mother started
ambling down the trail. The baby
walked several steps, bucked Jaime off
and ran after her. This sequence would
have been almost impossible to stage,
and luckily I managed to capture it on
film. The youngsters back in the United
States enjoyed this part of the picture
more than any other.
Our shooting procedure for the
planned sequences began with an ex¬
planation to our young star of what we
intended him to do. We would do one
THE AUTHOR shoots a closeup of “Pablito”
back-dropped by the ruins which are his
normal every-day playground. The eight-year
old “star" of our Im stands on a stone figure
carved centuries ago by the ancient Mayas.
rehearsal, if we felt it was necessary,
and then allow him to go through the
bit in his own way. This provided for
spontaneity and resulted in unexpected
reactions from him. He had the knack
of smiling or frowning at just the right
moment to put the finishing touch to
a sequence.
All communication with Jaime was
carried on in Spanish by either Edward
Welling, an entomologist from Ohio,
who served as technical adviser, or
Carol Miller, a California writer who
helped prepare the script. Both of these
young people had lived in Mexico for
long periods of time and knew the tem¬
perament of the people, especially child-
( Continued on Page 232 )
American Cinematographer
April, 1955
227
Time-lapse Cinematography
By CARROLL
Endorsed . . .
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WORLD’S LEADING
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Used At All
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AMERICAN
CINEMATOGRAPHER
HANDBOOK
for the
PROFESSIONAL and AMATEUR
by
JACKSON J. ROSE, ASC
•
New data on Cinerama - Tele¬
vision photography - Background
Projection - Zoom Lenses - Un¬
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Color - Eastman Color - DuPont
Color - Cameras - Projectors -
Lenses - Filters - Charts - Tables
- Ratings - Diagrams - Systems -
Equalizers - Formulas, Etc.
The Book of a Thousand Answers
to Cinematographic Questions
ORDER YOUR COPY TODAY!
'»'«• sC.OO POSTPAID
Book Department,
American Cinematographer,
1782 No. Orange Dr.,
Hollywood 28, Calif.
Gentlemen: Enclosed please find $5.00* for
which please send me a copy of
THE AMERICAN CINEMATOGRAPHER HAND¬
BOOK AND REFERENCE GUIDE.
Name . . . .
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•If you live in California, please include 18c
sales tax — total $5.18.
BOLEX camera with Animatic control.
The Term “time-lapse photography” in¬
variably brings to mind movies show¬
ing a flower opening from bud to full
bloom in a matter of seconds, or of a
beautiful sunset in which the sun rap¬
idly sinks behind an aura of ever-chang¬
ing cloud patterns in a fraction of the
actual time. However, this specialized
type of cinematography, in which the
motion picture camera makes a series
of single exposures at pre-determined
intervals, is now being applied with in¬
creasing regularity in many phases of
industry.
It is a popular method of studying
the various properties of metals — their
stresses, torques and tensions. By arti¬
ficial means corrosive effects are in¬
duced and photographed the meanwhile
by time-lapse cinematography for study
on the screen.
In medicine, time-lapse photography
enables scientists to better study the
growth of fungus, bacteria and cultures.
In the textile manufacturing industry,
time-lapse photography has been em¬
ployed to study the bleach-resistant
quality of one fabric as contraasted with
the rapid fading qualities of others.
An increasing number of American
companies are engaged in major con¬
struction projects in foreign lands. Prog¬
ress reports are furnished regularly on
motion picture film exposed a single
frame at a time. When screened, a sin¬
gle day’s progress unfolds in a matter
of a minute or two.
In a similar way, Walt Disney em¬
ployed time-lapse cinematography to
DUNNING
make a condensed movie record of the
construction of his nine-million-dollar
Disneyland project, being erected out¬
side a Los Angeles suburb.
Disney engineers designed and con¬
structed a battery of six 16mm came¬
ras for time-lapse photography, and
mounted them on towers erected at the
most strategic spots overlooking the Dis¬
neyland site. The cameras were arranged
in such a way as to cover each of the
several streets. Time-lapse mechanisms
set the cameras in motion once every
15 seconds during the day.
Other time-lapse shots were made by
cameras mounted on tripods in the con¬
ventional manner, and the positions of
these cameras were often changed daily
if not several times a day. Because no
fixed current source was available to
operate the latter time-lapse mechanisms
and camera motors, battery-operated
Animatic Intervalometers, manufactured
by Anson Research Company, North
Hollywood, were employed to actuate the
cameras in making the periodic single¬
frame exposures.
Some of the motion picture film thus
obtained was made a part of a recent
“Disneyland” television show.
In the production of analysis films
for the study of players and techniques
in various fields of sport, high-speed
cinematography is giving way to the
more economical time-lapse method. A
two-hour grid game would normally re¬
quire 4,300 feet of film, where covered
by high-speed photography. With sin¬
gle frame exposures made at intervals
of three seconds, the entire game would
involve a mere 2400 single-frame ex¬
posures. Such a film affords both con¬
tinuous and single-frame study by pro¬
jection with good results. The manufac¬
turer of the Animatic Intervalometer, in¬
cidentally, also makes a special projec¬
tor for single-frame study of films of
this type.
Frame-by-frame study of 16mm film
exposed with time-lapse controlled cam¬
eras is finding increasing favor in
many fields. It has been applied in the
study of highway traffic, recording cars
with smog-producing exhausts, and in
recording evidence of cars which per¬
sist in crossing the middle line where
such is not permitted.
Gas station and suburb store locations
are now selected on the basis of picto¬
rial studies made of prevailing traffic
by means of 16mm cameras and time-
lapse exposure controls. It has been
found that such films, studied frame by
frame, give more detailed information
with less time required for screening
than conventional motion pictures. END
228
American Cinematocrapher
April, 1955
Gussy ur ^ixii^u^...FiR$T
KNOWN USE OF ELECTRIC
SET LIGHTING- BACKGROUND
PROJECTION AT THE PARIS OPERA
IN 1846. LIGHT FROM A
PRIMITIVE ARC-LAMP WAS
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TO REPRESENT THE
RISING SUN.
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EXPERIMENTS WITH CAMERA
(Continued from Page 214)
“I stuck a bit of cardboard about
eighteen inches by twenty-four upon a
wall, placed rigidly in front of it a
tripod and camera loaded with color
film. To avoid reflection and waiting-
to-dry trouble, I used chalks and pastel
rather than paint.
“The picture then grew in the normal
way that any still painting grows, being
evolved from moment to moment, and
each stage being very dependent on the
stage before it. About every quarter of
an hour the evolution was recorded on
the film mainly by short, contiguous
dissolves. For three weeks the surface
of this one bit of cardboard meta¬
morphosed itself in and out of a series
of henly images, and at the end of it
all, all I had was one much worn hit
of cardboard with an unimpressive
chalk drawing on it, and 400 feet of
exposed film in the camera. In a sense
the film was the by-product of doing
a painting.
“Of course the sound track had to
he marked up first and the dope sheet
made out in much the same way as
for the hand-drawn technique, hut once
again the creative part of the job hap¬
pened in one and only one concentrated
hinge, unhampered by technical head¬
aches and frustrations. Also of im¬
portance was the fact that here again
the moment evolved in its natural se¬
quence, and as a result I had a chance
to improvise everything at the moment
of shooting.
“As this particular technique lent it
self more readily to creating visual
change rather than to action (side to
side, and to and fro displacement of
image on the screen), I intentionally
avoided the use of action, partly be¬
cause it suited the theme, and partly
out of curiosity to see if change in it¬
self could be a strong enough cinematic
factor to sustain interest.
“The technique also invited me to
take chiaroscuro out of its usual role
as a dead element in the decor of ani¬
mated films, and put it to work as the
foremost factor with a life of its own.
In this I hope that perhaps I am on
the way to bridging the gap that has
always existed between painting proper
and the animated film.”
In 1950 McLaren produced “Around
Is Around.” a stereoscopic film made
without a stereoscopic camera. It was
an abstract film, set to the music of
Louis Appelbaum. and its patterns were
based on the electrical impulses found
on the oscillograph tube. Staggered
frames on two projectors helped Mc¬
Laren achieve his astonishing results,
and he exploited the ability of the
animation camera and optical film
printer to produce double exposures
with complete accuracy to the full.
Writing in The Mini-Cinema, Neil
Baron said. “McLaren’s cartoons have
always been free of the normal laws of
movement obeyed by live films, but
here the expressive dots and loops had
the freedom of the auditorium; skim¬
ming towards us like quoits, bouncing
over us like boulders, and lashing out
like lassoos.” “Around Is Around ’
fascinated Press and public alike. At
the Telecinema during the Festival of
Britain queues waited all day and every
day to see it.
“Movement is still the guts of the
film,” says McLaren when asked his
views on the cinema’s future. His is
essentially a visual nature. Every piece
of paper that passes through his hands
ends up covered in doodles. He once
asked the waiter in an Ottowa restau¬
rant to wrap up the fish hones on his
plate so that he could take them home
and study their own style of beauty.
Even his jokes are visual; the most no¬
torious is the enormous eye which he
pastelled on the inside of a lady friend’s
toilet.
But even his outstanding visual talents
do not occupy all his time. Not content
with producing cameraless movies, fip
has experimented with sound until he
now makes his own sound-tracks (even
stereophonic sound-tracks) without mic¬
rophone. recording gear, commentary
effects or musical instruments. The
track which accompanies his pixilated
production “Neighbours” (described in
the November issue) is an example.
“EMMY”
( Continued from Page 209)
awarded for photographic achievement
climaxes an illustrious career for this
New York-born director of photography
who came to Hollywood in 1926. He
started at RKO studio as an assistant
cameraman, went into the armed serv¬
ices in 1942, and was a Captain in the
Signal Corps in India. Shorr became a
first cameraman two years ago when he
was assigned to direct the photography
of the Ray Bolger television films. He
was subsequently engaged to photograph
the “Medic” TV film series at its incep¬
tion, and continues as the director of
photography of the show, which is film¬
ed in Hollywood at the American Na¬
tional Studios.
In addition to Lester Shorr, five other
cinematographers were nominated for
Best Director of Photography “Emmys."
They are:
Norbert Brodine , A.S.C., for “The
Clara Schuman Story,” in the “Loretta
Young Show” series.
George T. Clemens, A.S.C., for “The
230
American Cinematographer
April, 1955
Roman and the Renegade,” in the
“Schlitz Playhouse” series.
Edward Colman, A.S.C., for “The Big
Bible,” in the “Dragnet” series.
Harold E. Stine, A.S.C., for “Night
Call,” in the “Cavalcade of America”
series.
Walter Strenge, A.S.C., for the “My
Little Margie” series.
Harold Stine was chairman of the
Committee on film photography awards.
With more and more cinematographers
joining the television Academy, it is es¬
timated that when time for the Awards
rolls around again next year, their rep¬
resentation in the ATAS will be sub¬
stantial.
PROBLEM IN LIGHTING
( Continued from. Page 223)
settings and operations photographed.
For long shots of the assembly lines
invariably all six Brutes were put into
service to supply illumination. These
big lamps have the ability to reach great
distances with a powerful beam of light.
For shooting detailed operations in
closeup, such as the stamping of small
metal parts, two of the big “170” arcs
were generally used.
Only when shooting in the spray booth
was the use of arcs restricted for safety
reasons. Here incandescent lamps, such
as Seniors, Cinelites and Colortrans,
were used.
The entire production was filmed with
the Mitchell “16” mounted on a tripod; I
there were no moving camera shots.
This lightweight combination enabled
Strenge to move in close to bulky
machinery, shoot from a high parallel,
and generally move from one setup to
another with a minimum of delay.
The only mobile pieces of equipment
were the two generators. Both were
mounted on dollies and often operated
from inside the factory, when maximum
use of available cable was required.
Strenge’s camera caught Westinghouse
technicians at work in the testing labora¬
tory, where all materials used in re¬
frigerator construction are evaluated. It
focused on the skilled punch press oper¬
ators, the rack welders, and on the giant
electric welding machines which auto¬
matically weld a refrigerator top,
bottom, sides and back in one operation
to form a complete food compartment.
From high and low angles, in long,
medium and closeup shots, the camera
recorded the complete fabrication of
hundreds of modern Westinghouse re¬
frigerators in mass production. Every
location posed its individual lighting
problem. Some operations were carried
on where only a concentrated beam of
light was focused on the part being
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our 25th
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Negative Developing
First Print Department
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45 Cutting and
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MOVIELAB FILM LABORATORIES, INC.
619 West 54th Street, New York 19, N. Y JUdson 6-0360
American Cinematographer
o
April, 1955
231
manufactured. In other stages of pro¬
duction, such as the final cleaning and
polishing of the finished product, an
abundance of both daylight filtering in
through windows and the factory light¬
ing greatly eased the demand on the
studio lighting equipment and gener¬
ators.
Walter Strenge is no newcomer to in¬
dustrial film photography. He made his
debut in the Roland Reed organization
shooting industrial films Many of them
have been for Westinghouse. “A change
of pace, such as these occasional in¬
dustrial assignments afford, develops
versatility, keeps one on his toes,’' he
says.
OUR MOVIE ON TV
( Continued from Page 227)
ren. They took over the duties of coach¬
ing Jaime, which allowed me to devote
most of my attention to my camera.
Shooting extended over a period of
three days. We obtained scenes from the
more distant areas on the first day and
on the second we shot scenes on loca¬
tions near Jaime’s home. The third day
was reserved for additional shots which
we had missed the first two days.
On the second and third days of
shooting large rain clouds gathered to
the south of us and an ominous breeze
began blowing them in our direction.
We had been through tropical down¬
pours before and knew that if the clouds
should open up, our filming would be
postponed indefinitely.
Luckily the sun continued to shine
and the clouds remained at a distance.
They served a purpose, however. Aside
from giving us many uneasy moments,
they provided a highly photogenic back¬
drop for the long shots we made of the
Mayan temples.
Our main problem in photographing
the static ruins was the interjection of
logical movement. We did not want a
scene of a temple without some action.
After carefully considering the taboos
against panning the camera, we decided
we were justified in doing it here. We
directed Jaime to walk down a trail at
one side of a temple. I followed him for
several seconds with the camera and
then panned several degrees to the right
to bring the large stone structure into
full view. Just as I was about to begin
the short pan, our little Indian picked
up a stone and threw it in the direction
of the temple. This natural movement
proved helpful in making the transition.
The pan served a two-fold purpose.
First, it gave the desired action and,
second, it served as a dramatic intro¬
duction to the ruins. The scene thus
created of a small boy walking with
complete unconcern toward a huge stone
structure was impressive.
After this one orientation shot, we cut
to medium and closeup scenes in the
roofless temple itself, concentrating on
Jaime’s actions and using the building
only as a background.
In the temple as in other locations
Jaime showed his highly imaginative
mind. In one scene we intended having
him walk up to a stone figure and touch
it with his hand. He did as we directed,
but in addition he rubbed noses with
the sculpture, providing another humor¬
ous bit of action.
In each sequence our aim was not to
picture the Mayan ruins or the jungle
as the dominant subject. Our major ob¬
jective was the capturing of Jaime’s life
in these unusual surroundings. Thus, a
carved stone column in our interpreta¬
tion was not an object of the Mayan
civilization, but merely a convenient
pillar for the child to play around.
I photographed our scenes and se¬
quences as closely as possible in the
order we wished them to appear in the
finished film. This method of shooting
was designed to save time in the cutting
room.
For shooting most scenes the tripod
was used, but in several sequences the
camera was hand held. This was true
in the scenes with the burros, where it
was necessary to shoot rapidly from
different setups and where using a
tripod would have been a hindrance
rather than a help.
The daylight in Yucatan is surpris¬
ingly brilliant. Often I shot with the
lens stopped down to almost f/11, using
a shutter speed of 1/50 of a second as
a basis for my meter calculations.
Through careful planning and budget¬
ing of our film supply, we managed to
shoot all scenes in our script plus the
additional sequences which occurred un¬
expectedly, before we ran out of film.
Few retakes had been necessary. All that
remained now was to ship the film to
the processing laboratory in the United
States.
Back in my Santa Clara, California,
home two months later I began the
rough cutting of the picture. From the
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232
American Cinematographer
April, 1955
KINEVOX
SYNCHRONOUS MAGNETIC FILM RECORDERS
AND ACCESSORIES
1 6mm Synchronous Recorder
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Magnetic Film Phonograph
Remote Amplifier-mixer
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Kinevox 17V2mm Recorder
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five hundred feet of film, I got approxi¬
mately eight minutes of projectionable
material. I rearranged sequences to
space out the peaks of interest and to
give the film balance.
I took this eight minute reel of film
to my friend Peter Abenheim, who is
known to San Francisco Bay area mop¬
pets as television’s Captain Fortune.
Pete liked it and said he wanted to use
it on his half-hour television program.
He cut the film down to fiive minutes
and forty-five seconds screen time and
prepared background music and a nar¬
ration for it. Two weeks later, Jaime,
the little boy in the far off jungles of
Yucatan smiled and played as thousands
of youngsters in northern California
watched on their home television screens.
PLEA TO CONGRESS
(Continued from Page 225)
cinematography. Artists’ conceptions of
the various dams were obtained from
the regional Bureau of Reclamation in
Salt Lake City. These were photo¬
graphed on our title board with the
Cine Special camera. Color slides which
had been made of various areas in the
basin were likewise reproduced on
16mm film in order to show the ap¬
pearance of the areas in the summer¬
time. This, briefly, is the story of the
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FROM ONE SOURCE
CAMERAS
MITCHELL
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Combination
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all models single system
Cine Kodak Special
Maurer • Bolex
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DOLLIES
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Cinemobile (CRAB)
Platform ♦ Western
3 Wheel Portable
LIGHTING
Mole Richardson
Bardwell McAlister
Colortran
Century
Cable
Spider Boxes
Bull Switches
Strong ARC-Trouper
10 Amps 110V AC 5000 W-
2000W-750W
CECO Cone Lites
(shadowless lite)
Gator Clip Lites
Barn Doors
Diffusers
Dimmers
Reflectors
WE SHIP VIA AIR. RAIL
EDITING
Moviolas • Rewinders
Tables • Splicers
Viewers (CECO)
GRIP EQUIPMENT
Parallels • Ladders
2 Steps • Apple Boxes
Scrims • Flags
Gobo Stands
Complete grip equipment
SOUND EQUIPMENT
Magnasync-magnetic film
Reeves Magicorder
Mole Richardson Booms and
Perambulators
Portable Mike Booms
Portable Power Supplies to
operate camera and recorder
OR TRUCK
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(Jhiherh G^uipmenT (6.
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American Cinematographer
April, 1955
233
Convert Your Auricon
Pro or Cine -Voice to
Accept 400-ft Magazines
^ Sh°otsoF
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The only satisfactory
custom conversion
available! Uses 100-
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supply complete
new units.
We are also
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HILLS FILMATIC
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Direct drive (no lag or speed¬
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Write for Literature, Prices
HAROLD’S Photography & TV
308 South Phillips, Sioux Falls, S. D.
Automatic Daylight Processing
DEVELOPING TANK
• Processes up to 200 Ft.
• 8mm-l6mm-35mm
• Movie — X-Ray — Microfilm
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FILM DRYER
• Motor driven — Heated
• Speedy drying
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Guaranteed. Write for Free Literature.
Dept. AC
487 South Ave.
Beacon, N. Y.
Micro Record (orp.
Video Film Laboratories
131 West 23rd Street
New York 11, N.Y.
Complete 1 6mm laboratory service for
Producers using the Reversal Process
Also 16mm Negative and Positive
developing.
WRITE FOR PRICE LIST
Established 1949
footage shot by Forney Films for the
Basin film.
In addition to our own material, we
utilized films and stock shots obtained
from a number of sources and integrated
them with our footage in the editing of
the picture. An almost unlimited source
for such shots was Glenn Turner, a Utah
cine amateur of note- — an amateur, in¬
cidentally, only because he likes to make
movies for fun instead of money.
Meantime, tempus was fugiting, as
the saying goes, and we had no sound
track for the picture — usually an essen¬
tial item when preparing a workprint.
The answer? A “■blind” sound track; we
would then edit to the track.
Losing seven different narrators, and
intercutting the lip-sync tracks we had
secured on location, a track was re¬
corded and an optical made as a work
track. This enabled our editors to get
right to work in cutting the master
print. In the meantime, background
music and sound effects were recorded
in sync with the voice track, and we
had our sound track completed even
before picture editing was finished.
Working far into the night, night
after night, our editors put in two full
70-hour weeks on the production. A
problem was keeping track of the “bor¬
rowed” footage, which had to be ac¬
counted for and returned to its owners
upon completion of the editing phase
of the production.
As editing progressed, the editors de¬
cided that superimposed overlays and
underlays were needed in spots. So
cameramen got into action promptly and
filmed rushing water, and scenes of
power installations, etc., for the purpose.
Finally, animation and titles were
shot. The opening title description called
for a live action background of a world
globe suspended in mid-air and rotating
slowly, with title text superimposed on
it. This was accomplished by suspending
a 12-inch globe on a string and placing
before it a panel of glass with the title
text lettered upon it. Shooting through
the glass, the text and globe were effec¬
tively photographed. An added feature
was the effect of clouds drifting over
the earth — obtained with the aid of
dry ice vapors.
In time the master was ready and
the first answer print was delivered to
us from the processing laboratory on
the 14th day of January — -right on dead¬
line. But the story of this film produc¬
tion did not end here. The premier of
the picture was scheduled to be held in
Gallup, New Mexico, in conjunction
with a tribal council meeting of the
Navajo Indians and members of the
Upper Colorado River Commission. A
feature of this meet was to be an en¬
actment of the Navajos going on the
warpath — the first time the colorful
ritual had been performed in one-
hundred years. Forney Films was called
upon to record this event on both 16mm
and 35mm film — the latter for the News¬
reels. On the site we had an Auricon-
Pro, a Cine Special, two Bolex F[-16’s,
and a 35mm Eyemo.
An interesting fact about this pro¬
duction, incidentally, was revealed by
our accounting department when it set
about figuring the billing for “pickup”
footage. “Birth of a Basin” is 972 feet
in length. Of this, only 218 feet was
“pickup" or purchased footage; the
other 754 feet had been shot either by
our location crews or on our sound stage
in Fort Collins, Colorado. END.
ALL-FILM TELEVISION STATION
(Continued from Page 204)
ered buying the necessary equipment and
doing its own film processing. But about
the same time Harold’s Photography in
Sioux Falls installed new, modern fast
processing equipment, and it was decid¬
ed to turn the work over to them. From
the time we placed film in their hands,
they had it ready for projection at
our transmitter in 21/2 hours or less.
This lab has since installed even faster
processing equipment which enables us
now to put films on the air thirty min¬
utes after shooting.
Before KELO-TV made its debut on
the air, there was a busy period of shoot¬
ing and televising film tests. We shot a
number of prototype commercials of
home appliances. Harold’s was just in¬
stalling their new processing equipment,
so this footage was sent off to a lab in
Chicago for processing. It was an im¬
portant moment when we put these films
on the air for KELO-TV's management
to see. They were amazed with the qual¬
ity and altogether delighted with results.
Encouraged with the success of our
test films, we now decided to film a
series of five-minute news and sportcast
“pilot” films with typical commercials
integrated. These were designed to dem¬
onstrate to prospective sponsors the sta¬
tion’s facilities and the quality of its
film work. The move was highly suc¬
cessful. A lot of air time was sold as a
result of showing these films, and many
of the original sponsors resulting from
that campaign are still with us.
As we went into full time daily opera¬
tion, film production, in addition to that
of commercials, consisted of five shows
daily, Monday through Friday. These
were a 10-minute 6:45 PM newscast fol-
234
American Cinematographer
April, 1955
35mm Model $375
Every film editor will appreciate a
viewer that enables him to view
his film from left to right — on a large,
brilliantly illuminated screen.
The Professional Film Viewer makes
film editing a breeze. Easy
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lowed by a five-minute weathercast. At
10:00 PM there were three ten-minute
shows, a weather show, a sports report
and a newscast. The daily total of tele¬
cast footage, exclusive of commercials,
was then 45 minutes. The commercials
ran anywhere from 20-second spots to
five-minute full commercials. Not the
least important of our commercials was
one for a local hardware store, which
ran no less than 15 minutes every Fri¬
day night. This feature has been on
KELO-TV regularly for over a year, and
continues to have a large following
among viewers.
Most of the news and weather shows
were filmed much the same as live TV
shows, except that one film camera
was used on a dolly, and moved in and
out.
Following the initial months of opera¬
tion, KELO-TV extended its daily tele¬
casting time. Additional “live film”
shows were added to our already busy
schedule. These included a farm and
market show five days a week; an early
sportcast; and a news and weather show
(very popular here) were added on the
Saturday and Sunday schedules, making
a total of seven week-day shows and two
each on Saturday and Sunday.
There have also been added over a
period of time additional weekly and
twice-weekly shows. These include two
(Continued on Page 237)
This standard model is the power
supply for the camera pull-down at¬
tachment. It is electronically con¬
trolled and can be pre-set at intervals
of one-second to one-minute. Price
$98.00. (Batteries extra). We can fur¬
nish altered models to operate at al¬
most any time range.
DUNNING ANIMATIC
INTERVAL METER
FOR TIME-LAPSE PHOTOGRAPHY
4337 CLYBOURNE AVE.
North Hollywood, California
Anson Research Co.
Dry Battery Operated
(Other models for A.C. current and photoflash operation.)
SINGLE-FRAME pull-down attach¬
ments made to fit the Cine Special
or Bo lex H-16.
Price $48.00
American Cinematographer
©
April, 1955
235
The Smart, New 16mm Cine-Kodak K-100
It's easy with the
MERCER FILM PATCH
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CINE-KODAK K-100, new 16mm cine camera with many new features.
A Smart new professional looking 16mm
camera is introduced this month by East¬
man Kodak Company. In addition to
its advanced styling, it is highly pro¬
fessional in function and in its many
special features which long have been
desired by both the serious and the semi-
professional 16mm cameraman unable
to afford the more expensive cine cam¬
eras.
The new single-lens Cine-Kodak K100
features a pre-stressed spring-power mo¬
tor that exposes up to 40 feet of film
at a single winding, a shutter release
at the rear of the camera, a full size
one-for-one telescopic viewfinder, and
a large, accurate speed-control gover¬
nor.
It is particularly well adapted to the
needs of movie makers who want a high-
quality 16mm outfit at a lower price
than the professional type 16mm came¬
ras currently available.
Latest in the series which began in
1930 when Eastman introduced the
Cine-Kodak Model K, the new K-100
may be had with either the Ektar 25mm
f/1.9 or the Etkar 25mm f/1.5 lenses.
In either case it will use any of a full
complement of auxiliary Kodak Cine
Etkar lenses in focal lengths from 15mm
(wide-angle) to 152mm (6 times mag¬
nifying telephoto).
The K-100 loads with 50- or 100-foot
rolls of all standard Kodak movie films,
either single perforated (for either opti¬
cal or magnetic sound) or double-per¬
forated. Besides the usual film-footage
indicator, it has a newly-developed
spring-motor dial to show at any time
how many feet of film can be run with¬
out rewinding.
Operation at any speed from 16- to
64-frames per second is professionally
precise with gate pressure adjusted to
produce sharp images on chatter-free
film. The camera also makes single¬
frame exposures.
The viewfinder on the K-100 is of
the telescopic type with a built-in eye
adjustment control to combine the sharp¬
ness and brightness of an optical finder
with the full-view advantage of a sports
type finder. Picture area and parallax
correction are clearly indicated. Quickly
interchangeable finders are offered for
all of the auxiliary lenses.
An auxiliary hand crank makes it
possible to backwind in producing mul¬
tiple exposures and other special cinema¬
tic effects or to vary exposure for ad¬
verse lighting conditions. The camera
may also be run by an electric motor
drive shaft.
Kodak combination lens attachments
available include filters for both color
and black-and-white, Portra Lenses,
Pola-Screens, and lens hoods. A carry
case is offered for use with the camera
— a drop-front Kodak field case de¬
signed for fast action.
List prices, including federal taxes,
are $269 for the K-100 with f/1.9 Etkar
lens and $369 with f/1.4 lens. Write
Eastman Kodak Company, Department
8-V, Rochester 4, New York, if you'd
like a descriptive pamphlet on the cam¬
era.
236
American Cinematographer
April, 1955
ALL-FILM TV STATION
( Continued from Page 235)
15-minute shows featuring women’s fash¬
ions, complete with models, interviews,
local interest and cooking tips. More re¬
cently we have added another popular
feature — a once-a-week appearance of
the local dog catcher offering dogs and
cats for placement in homes!
A 15-minute sewing and a 15-minute
cooking show, both sponsored, ran for
several months. Still another was a show
on interior decorating; this was photo¬
graphed in a different home in Sioux
Falls each week. There also was a spe¬
cial sports show in which the local high
school coach gave a talk augmented by
blackboard illustrations.
In our present programming are
weekly films of Chamber of Commerce
discussions which often feature officials
voicing their views on city planning and
other local problems; also three 15-min¬
ute religious programs, each sponsored
by individual churches or denominations.
In all. we are now on the air with
film material originating locally an av¬
erage of 12 hours per week. A great deal
of this is time-consuming take-by-take
production, and some if it is shot on loca¬
tions involving difficult shooting prob¬
lems. We have probably set up our cam-
era and recording equipment in most of
, '<
for unusual, specialized lighting,
you can depend on
WE DELIVER AND PICK UP
ANYWHERE IN THE U. S.
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Please send me free catalog giving list of
equipment and full information on your
service.
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American Cinematographer
April, 1955
237
CINEKAD
JUNIOR TRIPOD DOLLY
This collapsible three-wheel tripod dolly is
especially designed to meet the demand
for convenient mobility of cameras on loca¬
tion or in the studio.
Dolly can be used with any professional or
semi-pro tripod.
The tripod is fastened firmly to the dolly
by a clamp at each leg tip.
The special individual caster locking system
makes it possible to lock either two or
three wheels in a parallel position, enabling
the dolly to track in a straight line for
rolling dolly shots.
Dolly folds quickly into a single compact,
easy-to-carry unit, 23 inches in length,
weighing 14 lbs.
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CINEKAD
ENGINEERING COMPANY
500 WEST 52ND ST., NEW YORK 19, N.Y.
PLaza 7-3511
DESIGNERS AND MANUFACTURERS OF
MOTION PICTURES AND TV EQUIPMENT
RUBY CAMERA EXCHANGE
Rents . . . Sells . . . Exchanges
Everything You Need for the
Production & Projection
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35 mm . 16 mm.
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Box 4425
Washington 17, D. C.
the principal places of business in Sioux
Falls, including department stores, audi¬
toriums, machine shops, a packing plant,
and the City Hall.
Invariably the greatest problem we
encounter is that of securing dependable
sources of power on location shooting.
Very often it is difficult to get sufficient
power for the lighting necessary for good
commercial quality photography. But
here again the fast films we use and the
special processing given them usually
pull us out of tough spots.
Despite the fact we are set up for con¬
tinuous or extended runs of filming with
the camera mounted on a dolly, a great
many shows and commercials are filmed
take-by-take. On much of our daily pro¬
gram shooting, only one cameraman is
required. Another man is available who
can operate the second camera, handle
the mike boom or the sound recording
equipment. Thus we have been able to
manage our film operations with a mini¬
mum of personnel.
Film splicing is handled by one full¬
time makeup girl. On most local produc¬
tion films, the cameramen edit and splice
their own footage. In addition to him
makeup (editing and splicing), on the
day following telecast of all him mater¬
ial, the him is broken down and each
commercial or spot announcement is
separated and hied in its respective slot
ready for future use. The syndicated
him material is then shipped back to the
source.
After almost two years of continuous
operation with him, one fact stands out
— there is always a deadline to meet!
And whether its a news event, a live
show, or a sponsor’s sales message, we
know we can meet the deadline using
camera and motion picture him.
SUITING LENS TO SCENE
(Continued from Page 213)
phy, not only because it is the most
widely used lens for average scenes,
but because it is considered to have a
normal perspective. In other words, it
“sees” the various elements of the scene
in a size and space relationship very
much the way the human eye would
see them.
Unlike the wide-angle or telephoto
lenses, which have their special uses
but which by their very optical char¬
acteristics give an exaggerated view of
the subject, the standard lens does not
distort perspective. It can therefore be
used for high or low angles, for scenes
involving panning or tilting, and in ail
sequences where a straightforward ap¬
proach is desired.
The 1-inch lens is usually standard
equipment on cine-cameras which are
sold with only one lens. It has sufficient
depth of field to insure sharpness under
0
0
all ordinary conditions, even when the
lens is not too critically focused, and
it is the most versatile general-purpose
lens to use for a large percentage of
scenes to be filmed.
The W ide-angle Lens: Lenses having
focal lengths somewhat shorter than 1-
inch are lumped in the general category
of wide-angle lenses. As has been
pointed out, the 15mm lens is the one
most generally used for wide-angle
effects, although the 20mm is quite pop¬
ular in professional filming. There is
also on the market a lens only 9mm in
focal length which gives an extreme
wide angle of coverage. Although use¬
ful in very special situations, its in¬
herent distortion places it in the “gim¬
mick” class as far as most serious cam
eramen are concerned.
The wide-angle lens, correctly used,
can produce very dramatic effects, aside
from solving several important technical
problems. One of its greatest functional
uses is to cover as much as possible of
a subject when it is impossible to move
back far enough to get the desired angle
of coverage with a standard lens. It is
therefore very useful in cramped quar¬
ters when shooting interiors, or in ex¬
terior locations where buildings or other
obstacles make it difficult to move back
far enough to get a long shot.
Dramatically speaking, the wide-angle
lens makes possible a broad variety of
effects, not the least spectacular of which
is the split focus shot. This is a type of
composition in which, for example, a
woman’s face may fill half of the screen
while a large building in the back¬
ground dominates the other half of the
frame. Even though one subject is onlv
15 inches from the camera and the
other is at infinity, both are in accept¬
able focus.
This effect is made possible by the
fact that the optics of wide-angle lenses
result in a great depth of field. By way
of illustration: the hyperfocal distance
of a 15mm lens stopped down to f/16 is
2 feet — which means that when the
focus scale is set at 2 feet, everything
from 1 foot to infinity will be in focus.
While the split-focus shot is an ex¬
treme technique and therefore not to
be used indiscriminately, the great
depth of field of the wide-angle lens
permits an interesting use of fore¬
ground objects to frame a scene. This
lends greater depth to the composition,
helps to establish the spacial relation¬
ship of various objects or people in the
scene and creates interesting lines of
composition. Its effects on the viewer
is to bring him more intimately into the
scene, so that he feels a part of it.
The forced perspective of the wide-
angle lens results in a foreshortening
effect that can be either a photograph’c
asset or liability, depending upon how
it is used. Simply explained, it means
238
American Cinematographer
April, 1955
eterso
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that whatever is closest to the lens is
exaggerated in size out of all proportion
to that in the same scene which is
farther from the lens. A subjective shot
in which a character throws a punch
at the lens in such a way that the fist
looms seemingly out of nowhere to fill
the frame, can be very effective. On the
other hand, a wide-angle closeup of a
pretty girl would become grotesque be¬
cause the nose (being the part closest
to the lens) would appear very large in
relation to the other features. For this
reason a wide-angle lens should never
be used for filming closeups, unless a
comic effect is deliberately sought.
The forced perspective of the wide-
angle lens also applies to separate ele¬
ments within the scene, making them
seem farther apart than they really are.
Thus, a distance of 5 feet between two
people located in separate planes straight
out in front of the lens will actually
appear more like 10 feet. Similarly, a
person can move from a long shot to a
closeup with fewer steps and in much
shorter time than if the scene were
filmed with a longer lens. This allows
for a tightening up of distance in plot¬
ting movement and a much brisker pace
of action.
The combination of a wide-angle lens
and a low vantage point causes people
and objects to tower into the scene,
thus accentuating their power as dra-
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American Cinematocrapher
April, 1955
239
LAB-TV
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matic elements. Such angles also have
an “unreal'' quality that adds to the
illusion of dream or fantasy sequences.
Because there is invariably some linear
distortion at the edge of a scene photo¬
graphed with a wide-angle lens, one
should avoid panning with such a lens,
especially on small sets.
From the practical standpoint a wide-
angle lens can be very helpful in cutting
down the amount of light needed for
the filming of interiors. For example,
if a given area is to be included in the
composition, it is possible to move in
much closer with a wide-angle lens than
with a standard lens. This means that
the lights can be moved in much closer
without encroachment into the frame —
which means that fewer light units are
required to provide the necessary level
of illumination.
The Telephoto Lens: Acting on the
same principle as a telescope, the tele¬
photo lens magnifies distant objects so
that they appear to be brought much
closer to the viewer. The longer the
telephoto the greater the degree of mag¬
nification of the subject in the frame.
This characteristic proves valuable in
getting close shots of birds and animals
which might be frightened away if the
camera were set up closer to them. It
is equally useful in photographing peo¬
ple who have never been in front of a
camera before and who might become
quite self-conscious were the equipment
set up closer to them. In shooting “can¬
did" types of scenes for documentaries,
for example, a telephoto is indis¬
pensable.
When shooting sports films, a tele¬
photo can put the viewer right in the
midst of the contest, enabling him to
keep his eye on the ball. This coverage
is especially efficient when a second
camera equipped with a standard lens
is set up alongside — the two angles be¬
ing intercut during editing.
As we have already pointed out, the
telephoto lens has a relatively limited
depth of field. This makes it an ideal
closeuo lens for shooting people against
complicated backgrounds, which might
intrude should those backgrounds ap¬
pear too sharp. The telephoto lens,
focused sharply on the features of the
person in closeup. effectively diffuses
the distracting details of the back¬
ground. The 2-inch and 63mm lenses
are especially well-suited to closeup
filming.
Another characteristic of a telephoto
lens is that it is relatively flat. That
is, it tends to shorten the distances be¬
tween the various planes of the com¬
position, (as opposed, for example, to
wide-angle lenses that exaggerate such
distances.) In a negative sense, this
inherent flatness means that the two-
dimensional quality is accentuated to
the point that objects in a scene appear
as if painted on a flat surface. To mini¬
mize this effect it is advisable to shoot
such scenes with cross-light to produce
added depth and modeling whenever
possible.
However, this same characteristic of
flatness has a practical value in scenes
where it is dramatically desirable to
bring two objects in separate planes
closer together or make them seem more
equal in size.
Telephoto lenses are frequently used
in exterior filming to get closer shots
of very distant objects or scenery. In
making such long distance shots, often
a great concentration of ultra-violet haze
in the atmosphere will be encountered
which, while invisible to the eye, will
register prominently on the film. Be¬
cause this pile-up of ultra-violet light
will give the scene an overall cloudy
or muddy aspect, it is advisable to use
a deep yellow filter with panchromatic
emulsions and a colorless haze filter
with color film.
Another word of caution is timely
here in regard to the use of telephoto
lenses. Remembering that the longer
the lens the more exaggerated the move¬
ment (jiggling, shaking, panning, etc.)
of the lens, one should avoid panning
or tilting with a telephoto unless it is
absolutely necessary. Panning or tilting
should be done only to follow moving
objects. Moreover, such camera move¬
ment must be done much more slowly
and with a greater degree of smoothness
than if a shorter lens were used. In
short, sloppy camera handling will show
up with glaring effect when longer
lenses are used.
A combination of standard, wide-
angle and telephoto lenses will see the
average 16mm cameraman through any
type of photographic situation he may
encounter. When these lenses are
mounted on a turret it is a simple
matter to change readily to the other,
making the most of the visual effects
available, and suiting the lens to the
scene for maximum professional results.
CINE CAMERA TRICKS
(Continued from Page 226 )
cover the space between camera and title
card frame with black cloth, making
sure of course that cloth is held taut
and not allowed to droop into camera
range.
In a comedy or fantasy, it is often an
effective touch to have a character dis¬
appear right in the middle of a scene.
This trick is accomplished by stopping
the camera in the midst of the action,
allowing the actor to step out of the
composition, and then starting the
camera again. (An example of this sort
of trick may be seen in the popular
“Topper" television series.)
240
American Cinematographer
April, 1955
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Take, for example, a sequence in
which a magician is to make his assist¬
ant disappear. The camera is started
with normal action taking place; the
instant the magician waves his wand,
camera is stopped and the assistant steps
out of the scene — the magician meantime
“freezes” or holds his pose until the
camera is started again. As shooting re¬
sumes, the magician continues his action.
This technique can also be used to
make objects disappear one-by-one from
a scene. One could imply the passage
of time by filming a dinner and showing
the various courses disappearing one-
by-one. The routine may be reversed
also, to make things suddenly appear in
a scene. For this type of filming, it is
essential that the camera be securely
mounted on a rigid tripod, and that the
tripod head, if one is used, is securely
locked in place so that the camera will
not be moved even the slightest between
the “stops and starts.’’ Should it move,
it will greatly detract from the effect
of the trick on the screen.
Many effective tricks can be created
if your camera provides for a range of
speeds, in addition to the standard 16
f.p.s. Bearing in mind that the faster
the camera speed the slower the action
on the screen, and the slower the camera
speed the faster the screen action, you
(Continued on Next Page)
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SPECIALIZED TITLES and SPECIAL EFFECTS
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RAY MERCER & COMPANY
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American Cinematographer
o
April, 1955
241
L
Feature and television film productions for which members of the American Society of
Cinematographers were engaged as Directors of Photography during the past month.
AMERICAN SOCIETY
OF CINEMATOGRAPHERS
Arthur Miller, President
Sol Halprin, First Vice-President
Joseph Ruttenherg, Second Vice-President
Alfred Gilks, Third Vice-President
Walter Strenge, Treasurer
Philip Tannlra, Secretary
Rorert de Grasse, Sergeant-At-Arms
o
FOUNDED January 8. 1919, The Ameri¬
can Society of Cinematographers is com¬
posed of the leading directors of photog¬
raphy in the Hollywood motion picture
studios. Its membership also includes non¬
resident cinematographers and cinematog¬
raphers in foreign lands. Membership is
by invitation only.
ALLIED ARTISTS
Ellsworth Fredericks, “The Body Snatch¬
ers.”
COLUMBIA
Burnett Guffey, “The Gentle Wolfhound.”
William Mellor, “Last Frontier.”
Charles B. Lang, Jr., “Queen Bee.”
METRO-GOLDWYN-MAYER
Paul Vogel, “The Bar Sinister,” (Eastman
Color; CinemaScope).
PARAMOUNT
Ray June, “The Court Jester,” (Technicolor;
VistaVision) .
Loyal Griggs and Wallace Kelley, “The
Ten Commandments,” (Technicolor; Vista-
Vision).
Daniel Fapp, “Artists and Models,” (Tech¬
nicolor; VistaVision).
REPUBLIC
Jack Russell, “The Crooked Ring”
Jack Russell, “Lay That Rifle Down.”
20TH CENTURY FOX
Milton Krasner, “How To Be Very, Very
Popular,” (Color; CinemaScope).
Charles G. Clarke, “Sir Walter Raleigh,”
(Color; CinemaScope).
Joseph MacDonald, “House of Bamboo,”
(Color; CinemaScope).
Franz Planer, “The Left Hand of God,”
(CinemaScope and Color).
Leon Shamroy, “A Many-splendored Thing,”
(CinemaScope and Color).
Lucien Ballard, “Seven Cities of Gold,”
(CinemaScope; Color).
UNIVERSAL-INTERNATIONAL
Maury Gertsman, “The Spoilers.”
Irving Glassberg, “The Rawhide Years,”
(Technicolor).
Russell Metty, “There’s Always Tomorrow.”
Carl Guthrie, “Francis In The Navy.”
Wilfred Cline, “The Second Greatest Sex,”
(Technicolor; CinemaScope).
WARNER BROTHERS
Peverell Marley, “Illegal.”
Harold Wellman, “The Animal World,”
(Technicolor) .
Ted McCord, “The Jagged Edge,” (Warner-
color; CinemaScope).
INDEPENDENT
Lee Garmes, “The Deadly Peacemaker,” Sam
Goldwyn, Jr. Prodns.
Floyd Crosby, “Hell's Horizon,” David-Ire-
land Prod.
Harry Stradling, “Guys and Dolls,” (Cin¬
emaScope; Technicolor), Samuel Goldwyn
Prod.
Gil Warrenton, “Charge of the Rurales,”
(Ansco Color; Wide-screen), R. L. Lippert
Prod.
TELEVISION FILMS
Lucien Andriot, “Where Were You?” “It’s A
Great Life,” and “The Life of Riley.”
Joseph Biroc, “Dear Phoebe.”
William Bradford, “Gene Autry.”
Norbert Brodine, “The Loretta Young Show.”
George E. Clemens, “Schlitz Playhouse of
Stars.”
Robert DeGrasse, “Make Room For Daddy,”
and the “Ray Bolger Show.”
George Diskant, “Four Star Theatre.”
Karl Freund, “I Love Lucy,” December
Bride,” and “Our Miss Brooks.”
Frederick Gately, “This Is Your Music,”
“Cavalcade of America.”
Sid Hickox, “Willy.”
Sam Leavitt, “The Halls of Ivy.”
Jack MacKenzie, “Public Defender,” and
Passport To Danger.”
Virgil Miller, “You Bet Your Life.”
Hal Mohr, “Life With Father.”
Nick Musuraca, “Lineup.”
Kenneth Peach, “Steve Donovan, Western
Marshal,” “Gangbusters.”
Robert Pittack, “The Lone Ranger,” and
“Private Secretary.”
Mack Stengler, “Liberace Show,” “Flor-
ian Zabach Show,” and “It’s Fun To Reduce.”
Harold Stine, “Superman,” and “Korla Pan¬
dit show.”
Alan Stensvold, “Andy’s Gang.”
Walter Strenge, “Waterfront,” “My Little
Margie.”
Philip Tannura, “The Burns and Allen
Show,” and “The Jack Benny Show.”
Stuart Thompson, “The Whistler.”
Lester White, “Judge Roy Bean.”
Harry Wild, “Boh Cummings Show.”
•
CINE CAMERA TRICKS
(Continued from Page 241)
can suit the speed of film travel to your
respective needs.
Slow motion is especially effective
when used to show details of action
which is normally rather fast. For this
reason, it is frequently used in filming
sports events. Walt Disney’s wildlife
cameramen often employ it to gain an
interesting or comic study of certain
action of animals or fowl. Industrial
filmers use it also to obtain slow-motion
studies of mechanical operations or
product performance.
Standard sound speed of 24 f.p.s.
shows little difference over 16 f.p.s. when
screened at the latter speed; but film
shot at 48, 64 or 128 f.p.s. will produce
highly interesting slow-motion action.
In home movie comedies, slow motion
can be used to heighten the comic action
of a drunk, or to picture a scene in
motion as it appears to him. It is also
effectively applied to dream sequences
where it is necessary to exaggerate action
or motion in order to convey the desired
element of fantasy.
A more utilitarian use of slow motion
is to smooth out the roughness in scenes
resulting when they are filmed from an
automobile or plane. Keep in mind,
however, that any action taking place in
the scene as it is filmed will also be
slowed down — possibly to a ridiculous
degree. Obviously slow motion should
be restricted to scenes of this type which
are in themselves reasonably static.
Fast motion is, of course, the direct
opposite of slow motion, and is produced
by filming at 8, 12, or 16 f.p.s. (the
latter when the rest of the subject film
is being shot at sound speed). Fast
motion can also be used to achieve
certain comedy effects. To burlesque
the hustle and bustle of a New York sub¬
way, for example, fast motion filming (at
reduced camera speed) will show on the
screen people rushing and crowding each
other in exiting and boarding the trains.
A speed of 8 f.p.s. is best for action of
this type.
A more practical application of fast
motion, however, is in the speeding up
of chase sequences — speed of movement
which cannot safely be filmed at a maxi¬
mum rate of movement. A scene of a
car going around a mountain curve is a
hair-raising spectacle on the screen when
shot at 8 or 12 f.p.s. The old Keystone
comedy cameramen were experts at this.
Fast motion can also be used to obtain
a spectacular effect of clouds scurrying
across the sky.
Single-frame photography is an exten¬
sion of fast motion photography. It
can provide a multitude of special and
trick effects. Best results follow where
242
American Cinematographer
April, 1955
the camera provides for single-frame ex¬
posure, with each exposure uniform in
timing. It is possible to achieve a
measure of stop-motion or single-frame
filming with cameras that do not have
the single-frame exposure device. This
is done by allowing the camera to run
down before starting the single-frame
exposures, then flicking the starting
button lightly to effect a single exposure;
sometimes, however, tapping the button
thus will send two or more frames of
film past the gate, and this, of course,
upsets the pattern of action.
The most satisfactory results from the
use of the foregoing trick filming pro¬
cedures will follow where the desired
camera tricks are carefully plotted in
advance and made an integral part of
the shooting script. Their success will
depend upon how appropriate they are
to the situation or action, as well as
upon how smoothly they are executed.
SHOOTING “OKLAHOMA!”
(Continued from Page 211)
early, and the various scenes wc-ce en¬
acted and shot twice — once with the
Todd-AO camera and once with the
CinemaScope camera. At first this seems
an incredibly costly procedure; actually
it was not, when one considers the
pictorial gains that were thus achieved.
One of the major differences in shoot¬
ing Todd-AO as compared to conven¬
tional cinematography is that the former
is photographed at 30 frames per second
instead of 24. This is necessary to avoid
flicker in the super wide-screen area of
the Todd-AO frame when projection
takes place.
“About the only time we altered our
camera speed,” Surtees said, “was when
we wanted to give the aspect of faster
speed in chase scenes involving horses
and riders. In such instances, we shot
the action at 25 fps. This brings up the
matter of cross-screen action — which
presents another taboo when shooting
with Todd-AO. It isn’t possible to get
smooth, blur-free images where fast
action moves directly across the ultra¬
wide Todd-AO screen. Therefore action
of this type was staged diagonally
across the screen, coming straight to¬
ward the camera, or in and out directly,
as best suited the action.
“Another major difference in shooting
technique demanded by the Todd-AO
system is in the matter of camera cuts.
Here a great deal of thought must be
given by the cameraman to cutting,
rather than leave it entirely to the editor
later. If this is not done, objectional
visual ‘jolts’ are very likely to occur in
the picture. Let me illustrate:
“Take a scene in which we are to
bring an actor into a house from out of
doors. In the exterior shot, we shoot
him in medium closeup — from the waist
up. When we pick him up again on the
interior shot, showing him entering the
house, we maintain the same composi¬
tional proportions and frame him in a
similar manner from the waist up. Here
also the camera is kept at the same
distance for both shots.
“Perhaps the greatest difference be¬
tween Todd-AO photography and that
done with, say, a Mitchell or Vista-
Vision camera, is in the matter of
lenses. Lenses used on the latter cam¬
eras, as with all conventional motion
picture cameras, are classified accord¬
ing to focal length. With the Todd-AO
system, the lenses are classified accord¬
ing to their angle of coverage. In addi¬
tion to the large ‘bugeye’ lens, with its
128-degree angle of coverage, there are
three additional lenses covering angles
of 64-, 48-, and 37-degrees respectively.
As with Mitchell cameras, we are able
to line up our shots directly through the
taking lens, and are able to see exactly
what area of the scene the lens takes in.
“The combination of the wide angle
of coverage of Todd-AO lenses com¬
bined with the great screen area pro¬
duces high magnification on the screen.
As a result, Todd-AO pictures are clearer
and sharper. This immediately posed
problems in makeup and set design. In
the latter, the painting of sets to give
the appearance of great age had to be
done with meticuolous care, otherwise
the illusion would be too apparent. In
the matter of makeup, this, too, required
more meticulous application than is
generally accorded players in conven¬
tional motion picture photography. Wigs,
beards and mustaches had to be finely
constructed and authentic in detail to
avoid that ‘fake’ appearance we so
often see on the screen.”
The artistry of Surtees photography
is evident from the opening scene of
the film, in which the camera follows
the main character through a corn field
as the song, “0, What a Beautiful Morn¬
ing” is being sung. The corn, which is
"as high as an elephant’s eye” parts
before the camera and seems to wrap
around the viewer, creating a most
effective visual pattern.
In a later sequence the camera is
mounted between the wheels of a horse-
drawn carriage to show how chickens,
pigs and other barnyard tenants scurry
out of the way when the “Surrey With
the Fringe on Top” comes rolling
through. But the pictorial high point of
the picture is the dream ballet in which
an allegorical story involving the pro¬
tagonists and the villian is portrayed
in dance patterns. Since an optical
printer for the process had not yet been
built when this sequence was shot, it
was necessary to plan transitions in and
out of the “dream” atmosphere through
the use of cuts rather than conventional
Now! A 400ft. Magazine
For Your BOLEX H-16
Complete
with
Synchronous
Motor
and Base
Includes
Installation
and
Case
Permits continuous 400 ft. run of 16mm film —
the 200 ft. daylight loading spool may be used
in the 400 ft. magazine. The 100 ft. spool can
be used in the camera without removing ex¬
ternal magazine. Fully guaranteed. Can YOU
shoot a continuous wrestling match, prizefight or
football game? If not write for complete in¬
formation or see your Bolex dealer.
Ask about our Rack-Over, Sports-
finder and Camera Base.
TOLEDO CINE ENGINEERING
1309 Milburn Ave. Toledo 6, Ohio
MOVIOLA
FILM EDITING
EQUIPMENT
1 'iMM - 35MM
• PICTURE
SOUND
Photo and
Magnetic
• SYNCHRO¬
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• REWINDERS
One of fhe
new series 20
Moviolas for
picture and
sou id.
II' rite lor
Catalogue
MOVIOLA MANUFACTURING CO.
1451 Gordon St. • Hollywood 28, Calif.
Automatic dissolve attachments for Cine
Special and Bolex H-16 and 8 (Equipped
with Pellegrini Shutter)
JOSEPH YOLO, 1037 N. La Brea
Phone GL. 7103 Hollywood, California
American Cinematographer
e
April, 1955
o
243
MOTION PICTURE STUDIO
and or the following equipment
FOR RENT
• 600' Auricon Sound Camera
• Cine-Special Camera
• Houston-Fearless Panorama Dolly
• Cinekad Dolly
• Magnecord Binaural Recorder
• 18' Microphone Boom
• Bell & Howell "202" mag/opt.
Projector
© Dual Turntables
© Camera and Sound personnel
CREATIVE PRODUCTIONS
200 Main St., Orange, N.J.
ORange 6-6046
GEO. W. COLBURN LABORATORY INC.
164 NORTH WACKER D R / V £ • C H / C A 0 0 6
TELEPHONE STATE 2-7316
8 and 16mm
SERVICES
dissolves. Fades and dissolve effects
were created through the special use
of light.
The lighting key of this sequence
starts high, with the set bathed in gold
light. As the action progresses and be¬
comes more dramatic the tones become
colder, changing to shades of blue and
green. Through it all the heroine,
clothed in a white dress, moves in her
own pool of golden light. The villian,
on the other hand, moves in a pool of
green light that lends a sinister quality
to his features.
The entire production was shot with
arc rather than incandescent lighting.
This was necessary because of the ex¬
tremely long throws required to illumi¬
nate the huge sets, plus the fact that a
light level of 1,000 foot-candles was
needed to make possible the stopping
down of the lens to an average f/3.2
for added depth of field. Over the arcs
Surtees used a No. 53 straw-colored
filter to warm up the tones. He
pointed out that arcs were actually more
economical than incandescent lights
would have been on such large sets and
that the resulting single light source
quality of the lighting was much more
akin to the actual sunlight which it
was supposed to simulate.
Holding color tones consistent during
the changing light conditions of exterior
shooting was difficult, especially when
studio-shot scenes done on the stage
had to be cut into these sequences. Yel¬
lows, greens and reds were problem
colors. hen informed of this, director
Fred Zinneman asked: “What colors
are left that we can shoot?” Strangely
enough. Surtees found that he could get
more consistant color rendition by hav¬
ing exterior sets painted with the type
of floureseent paint used for “black
T
1
CINEKAD Microphone Booms
i \
//I v
ALL MODELS FIT
IN YOUR CAR!
\
\
6
For Prices and Literature ,
Ask Your Dealer or IF rite
CINEKAD ENGINEERING CO.
500 WEST 52ND ST.. NEW YORK 19. N.Y.
PLaza 7-3511
DESIGNERS AND MANUFACTURERS OF
MOTION PICTURES AND TV EQUIPMENT
CINEKAD Mike Booms are light in
weight, rigidly constructed, precision
engineered and ideal for location or
studio work.
1 Model BR-11 extends from 6 to 1 1 feet.
2 Model C-12 extends from 7 to 1 3 feet; has
external directional mike control.
3 Model “Miracle” extends from 7 to 18
feet; has internal fitted noiseless directional
mike control.
4 Model C-18 extends from 7 to 19 Vi feet;
has external directional mike control.
5 “Fishpole” mike boom extends from 6 to
12 feet. The monopod feature permits op¬
erator to handle “Fishpole" mike boom for
hours without fatigue.
Each CINEKAD Mike Boom has a sturdy
5-foot stand , » vhich can be elevated to a
height of 10 feet.
light” effects.
The camerawork in “Oklahoma" is
spectacular by its very understatement.
Its overall style was inspired by the
paintings of Peter Hurd, whose simple
clean treatment of Western and rural
themes has produced a “modern” result
with an impact all its own.
Using Hurd’s painting as a starting
point, Surtees further stylized his com¬
positions by using set elements such as
windmills, fences, barns, etc., built in
forced perspective. Everything possible
was done to give the compositions depth
and dimension, to avoid the “painted
backdrop " look of flatness which is so
often characteristic of outdoor epics.
In shooting “Oklahoma!” Surtees said
he endeavored to use a fresh and
original camera approach for each situ¬
ation. “That’s why whenever we found
ourselves about to consider a technique
that had been used before, we would toss
it out and search for something new and
original instead,” he said.
"It is a little difficult for me to put
into words how it felt to work with
something as totally new as Todd-AO,”
Surtees concluded. “We started shooting
before we even knew whether it was
going to work. We had no precedents
to go by, not even any technical data
to refer to. Every bit of camera, lab.
editing and projection equipment had
to be specially designed and built as
we went along — often on feverish dead¬
lines just ahead of our shooting sched¬
ule. e felt like real pioneers — but there
was a spirit there, a spark of excitement
generated throughout a wonderfully
loyal and competent crew working to¬
gether to produce something very spe¬
cial. It was an experience I’ll never
forget.”
NOTE: For technical details of the Todd-AO
camera and equipment, see “Todd-AO — New¬
est Wide-screen System” in October, 1954,
American Cinematographer, page 494. —
EDITOR.
ACADEMY AWARDS
(Continued from Page 208)
productions in each class receiving the
greatest number of votes become the
official nominees for the year’s Acad¬
emy Awards for photographic achieve¬
ment.
Directors of photography are eligible
to vote in the preliminary balloting and
nomination voting. Only Academy mem¬
bers — and this includes many who are
directors of photography — participate
in the final voting, which selects the one
best film in each class for the photo¬
graphic award. In other words, at this
time, voting for the photographic
achievement wards — as well as the other
awards — is participated in by members
of all branches of the industry who are
also members of the Academv. end
244
American Cinematographer
April, 1955
CLASSIFIED ADVERTISING
10c per word, minimum ad $1.00. Words set in capital letters except 1st word and advertiser’s name, 15c per word. Modified display
format 90c per line. No discount on classified advertising. Send copy with remittance to editorial office, 1782 No. Orange Drive, Hollywood
28, Calif. Deadline 15th of month preceding date of issue.
STUDIO 4 PRODN. EQUIP. FOR SALE FOR SALE
A QUARTER MILLION DOLLAR SELECTION
TIME LAPSE INTERVAL Meters for Bolex and
Cine Special, complete . $ 146.00
1 60C/ DOUBLE 16mm FIBRE CASES. Reg.
$4.00. New . . . 1.95
PORTABLE MIKE BOOMS, 1 1 '/2 ' extension arm
on 5' perambulator . . . 139.50
Same with 15' extension arm . 159.50
NEW FRESNEL STUDIO SPOTS, lead wires,
switch, pipe clamp.
2000 Watt _ $59.95 5000 Watt . 99.95
NEW REVERE 1500W NEWSREEL FLOOD-
LITES, $100 value. Closeout . 39.50
NEW ENCLOSED FILM STORAGE CABINETS,
capacity 20 — 400' reels, 2 drawers, gray
enamelled, value . 14.95
Lots of 3— $12.95 Lots of 6..._ . 9.95
SOUND MOVIOLA 35mm UDS on rolling
stand. Rebuilt . 995.00
PORTABLE 35mm OPTICAL RECORDER,
w/galvo; amplifier; noise reduction; inter¬
lock motor; 1000' capacity; counter. Close¬
out . 495.00
BARDWELL-McALISTER MULTIPLE FLOODLITES,
3 Quadruple heads to hold 12 bulbs on
rolling tripod stand. Orig. Govt Cost
$180.00. Surplus . 29.50
BM QUADLITE Heads only $4.95. Stands only 19.95
B&H EYEMO 71 Q CAMERA W/6 lens turret,
24V motor; 2 — 400' mags.; 8 lenses —
6 Baltars; 2 Tessars. $2000 value . 995.00
MITCHELL TRIPOD FREEHEAD w/panhandle,
case . 375.00
B&H 16mm FILMO SPECIALIST CAMERA
w/rackover; matte box; Mitchell type Find¬
er; syncmotor; 400' mag.; w/case. $2000
value . . . . : . 995.00
CINE SPECIAL BLIMP. Takes 200' mag. and
motor; has follow focus, 63mm viewfinder.
Close out . 195.00
AURICON CINEVOICE 400' mag. conversion
with counter. New . 495.00
Same with 1200' mag. & motor takeup.... 695.00
EASTMAN AUTOMATIC FILM WAXER, $1200
value. Rebuilt . 795.00
BRIDGAMATIC JR. 16mm FILM DEVELOPER,
Positive 600', Negative 300' per hr. Re¬
built . 895.00
EASTMAN AIRGRAPH 16/35mm FILM DE¬
VELOPING MACHINES. Fixes, washes and
dries. Stainless steel tank and drum, drive
motor, heater, blower, $1800 value. Gov t
Surplus. New . 295.00
Good used condition . 225.00
B&H 35/1 6mm REDUCTION PRINTER, $6000
value . 3495.00
B&H 35mm SOUND PRINTER, 5 way with
Lamphouse, rebuilt . 2695.00
Same with 300W hi-intensity lamphouse.. 2895.00
TRADES TAKEN Cable: SOSOUND Dept, fc
S.O.S. CINEMA SUPPLY CORPORATION
602 W. 52nd Street, New York 19. Phone PL 7-0440
FOR SALE
WE ALWAYS HAVE BARGAINS
in Professional 35 & 16mm equipment.
CAMERAS — LIGHTS
MAGNETIC and OPTICAL
RECORDERS and PLAYBACKS
MOVIOLAS — DOLLYS — BOOMS
Send for our constantly changing list.
Hundreds of Other Production Items.
Write — Wire — • Phone
CINEMA SERVICE CORP.
106 West End Avenue, New York 23, N.Y.
TRafalgar 3-1411
CINE-SPECIAL II outfit, one year old, exactly like
new. Ektars 25mm F/ 1.4, 63mm f/2, 15mm con¬
verter; built-in reflex magnifier; custom leather
case; CE matte box, filters; value $1,500. First
$895.00 gets all. DYNNER, Box 1072, Youngs¬
town, Ohio.
ONE new Arriflex 16 camera, deluxe case, wet
cell bat., bat. charger & AC conv., three lenses
& closeup att. $2411.00. WEBSTER VISUAL SALES
CO., 539 Vine Street, Chattanooga, Tennessee.
HOUSTON KIA with extra air squeegees and bubble
agitation, Ballantyne theatre sound system (new),
Auricon optical recorder, Presto PT900 tape re¬
corder, 35mm Baltar F/2. 3 Mitchell mount, sell or
trade for what have you. L. S. WIRTH, 300 Boyden
St., Syracuse, N.Y.
OUR 26TH YEAR— SUPPLYING EVERYTHING
PHOTOGRAPHIC & CINEMATIC
ART REEVES SENSITESTER Combination 35mm
and 16mm. Value $200.00. Special . $ 595.00
B&H 25mm EYEMO "Q" CAMERA with
4" F2.9 Cinemat, 2" F2.3 Kinar, 35mm F2
Cooke lenses and viewfinder lenses, 2 — 400'
magazines, freehead tripod, shift-over
Alignment Gauge, 12V variable speed mo¬
tor, 2 carrying cases, excellent condition.... 1550.00
B&H 16mm FILMO CAMERA Model 70-DA
with 17mm F2.7 Wollensak, 1" FI .5 Dal-
meyer, 2" F2.8 Schneider, 3" F4 B & H
Teletar, and 6" F4.5 Telephoto Xenar
Lenses,- 2 — 400' Magazines,- Motor; Wells
Semi-Professional Tripod; Carrying Case,
value $1695.00. Special . . . 1150.00
35mm B&H SINGLE SYSTEM SOUND CAM¬
ERA, Lenses: 40mm F2.7 Zeiss, 50mm F2
Cooke, 75mm F2 Cooke, 125mm F7.3 Cooke.
Modulite, Galvanometer, Amplifier, Motor,
Tachometer, 2 — 1000' Magazines, Tripod
with Freehand, quick release legs, carry¬
ing cases . 3500.00
LAGO INCANDESCENT LAMP 24" Reflector.
Five Kilowatts. Rolling Stand. Value
$246.00. Special . 110.00
MOLE RICHARDSON combination Microphone
and Lamp BOOM. Rolling Stand. Special.... 235.00
35mm SEPT MOVIE CAMERA and Case. Reg¬
istration Pins. 17 foot Magazine Capacity . 77.50
ENLARGERS, excellent condition, Elwood, Auto
focus, lens and stand, 5x7 . 235.00
Size 8x10 . _... . 400.00
MOLE RICHARDSON 2000 Spot, rolling stand.. 110.00
B&H CAMERA CHECK PAWL. High speed
shuttle. List price, new, $1742.00. Good
condition . 195.00
35mm DUPLEX PRINTER. Adapted for sound
track, excellent for duping. Academy Aper¬
ture Speed 250 pictures per minute per
side. Two light change boards, 18 different
lights each side, 21 scenes. Motor 110
volts, perfect mechanical condition . 875.00
SCHOEN PRINTER, sound and silent, color,
B&W. Features: 16mm picture alone, 16mm
track alone, 16mm picture & sound to¬
gether; film capacity 1600 feet, 50' per
minute; 12 adjustable light charges; AC-
DC conversion unit . 999.00
HOMRICH COMBINATION COPYING CAMERA
and animation table, stand, adaptable to
4x5, 5x7, 8x10 holders. Two adjustable
light stands with twip reflectors. 11x14,
16x20 copy frames. Built in lamp house,
good buy . 135.00
HOMRICH ELECTRONIC TIME CONTROL CON¬
TACT PRINTER, timer has full second and
split second setting. Handles 4x5, 5x7, 8x10
negatives. Adjustable masking and paper
guides. Internal dodging plate glass plate.
Four lamps, each controlled by separate
toggel switch. A real buy . . 165.00
SPECIALI 1ZNG IN MOVIE AND TELEVISION SUP¬
PLIES, TRIPODS, SYNCHRONIZERS, 16mm SOUND
CAMERAS, lights, lenses, mikes, booms, dollies,
motors, etc. New, used. Reasonable prices. Cash
for used equipment. Trades taken.
HOLLYWOOD CAMERA EXCHANGE, LTD.
1600 Cahuenga Boulevard Hollywood, California
BASS ... is headquarters for Arriflex 16; the new
Zoomar 16; Cine Specials, all models; Bell &
Howell 70-DL; Bolex H-16; Used Cine Special II,
1" F: 1 .4 Ektar, new Par finder, case, $875.00;
H-16 DeLuxe Bolex, 1" F: 1 .4 Biotar, $245.00;
B.&H. 70DL, 1" F= 1 .9 Comat, case, $275.00; B.&H.
70DA, 1" F: 1 . 8 Cooke, case, $175.00; Victor 5,
1" F: 1 .5, 15mm F:2.7, 3" F:3.5, case, $165.00.
Best buys . . . Best trades always. BASS CAMERA
CO., Dept. CC, 179 Madison St., Chicago 2, III.
ARRIFLEX, MAGNASYNC.
IMMEDIATE DELIVERY ON ARRIFLEX 16 AND 35.
NEW MAGNASYNC RECORDERS FROM $895. MAG¬
NASYNC DEMONSTRATORS $1100. OTHER NEW AND
USED MOTION PICTURE EQUIPMENT. CINE ASSO¬
CIATES, P.O. BOX 98, BELLAIRE, TEXAS.
16MM HOUSTON K-1A . . . developing machines.
For reversal or positive film. Complete with
refrigerator units, temperature control, condensors,
evaporators, thermostats, etc. BRAND-NEW, prices
reduced! Write. AIR PHOTO SUPPLY, Dept. C-l,
555 E. Tremont Ave., New York 57, New York.
TWO matched 35mm DeVry portable sound projectors
complete with amplifier speakers, extra amplifier
tubes, and all connecting cables. $375.00. BOX
1207, AMERICAN CINEMATOGRAPHER.
LIKE NEW
Bell & Howell Standard 35mm Camera, Mitchell-
type Rackover, Mitchell Upright Viewfinder. Cost
$6150.00.
IN FIRST-CLASS CONDITION
Will sell for . - . $4650.00
Ask for Mr. Rose's Camera.
Also at Reasonable Prices 35mm, 40mm, 50mm, and
75mm lenses; matte box; 1000-ft. magazines; Friction-
head tripod.
ART REEVES MOTION PICTURE EQUIPMENT CO.
7512 Santa Monica Blvd.,
Hollywood 46, Calif.
NC MITCHELL camera (Serial 284), good condition,
now in daily use in Hollywood studio production,
for sale with following accessories: six coated
Baltar lenses — 25mm T/2.5, 30mm, T/2.5, 35mm
T/2.5, 40mm T/2.5, 50mm T/2.5, and 75mm
T/2.5; filter holder and case; erect image view¬
finder with built-in mattes; finder support bracket;
reducing finder adapter lens; combination matte
box and sunshade; wide-angle matte box; variable
diffuser, standard size friction tilt-head; standard
size tripod; 110-V, AC/DC variable speed motor;
camera carrying case; accessory case. BOX 1203,
AMERICAN CINEMATOGRAPHER.
WALL S. S. 35MM. SOUND CAMERA
COMPLETE with Galvanometer, amplifier, portable
power supply, 40-50-75 and 100mm. lenses, erect
image viewfinder, complete front attachments, two
1000 ft. magazines. Balanced Tripod, necessary
carrying cases. Overhauled. Guaranteed perfect.
Reasonable.
CAMERA EQUIPMENT COMPANY
1600 Broadway New York 19, N. Y.
AUDIO AKELEY single system camera complete with
Akeley sound head. Gyro tripod, 3 lenses, view
finder, Maurer mixing amplifier. Complete with
cables, power supply and W. E. microphone.
CAMERA EQUIPMENT CO., 1600 Broadway, New
York 19, N.Y. Cable: Cinequip.
PRECISION Magnetic Heads for Engineers - Industry
Erase - Record - Playback
STANCIL-HOFFMAN CORPORATION
921 North Highland Avenue
Hollywood 38, California
WE BUY, SELL AND RENT PROFESSIONAL AND 16mm
EQUIPMENT, NEW AND USED. WE ARE DISTRIB¬
UTORS FOR ALL LEADING MANUFACTURERS. RUBY
CAMERA EXCHANGE, 729 Seventh Ave., New York
City. Established since 1910.
TURRET Eyemo, 25mm, 50mm, 150mm lenses, $525.00;
DeVry 35mm camera with 50mm lens, $75.00. 400'
Pathe 35mm camera, 50mm lens, $80.00. Eastman
Model A 16mm camera, 25mm lens, $85.00. All
perfect condition. HARRY MAMAS, 72 Chickering
Rd., Dedham, Mass.
WILL SWAP pair of 35mm rear-shutter Simplex the¬
atre projectors complete with arc lamps, rectifiers,
sound-heads amplifiers, etc., for Auricon "Pro''
16mm sound camera outfit. HARRY MAMAS, 72
Chickering Rd., Dedham, Mass.
35MM Cunningham combat camera, 4-200 ft. mags.,
3 lenses. All excellent condition. $895.00. Contact
FRontier 2-2638.
WANTED
WE’RE OUT SCOUTING FOR
Cameras, Dollies, Lenses, Lights,
Moviolas, Printers, Recorders,
Studio or Lab Equipment
Western Union-WUX New York,
Phone PL 7-0440
S.O.S. CINEMA SUPPLY CORPORATION
Dept, fc Cable: SOSOUND
602 W. 52nd Street New York 19, N. Y.
WANTED TO BUY FOR CASH
CAMERAS AND ACCESSORIES
MITCHELL, B&H, EYEMO, DEBRIE, AKELEY ALSO
LABORATORY AND CUTTING ROOM EQUIPMENT
CAMERA EQUIPMENT COMPANY
1600 BROADWAY, NEW YORK CITY 19
CABLE: CINEQUIP
( Continued on Next Page)
American Cinematocrapher
April, 1955
245
POSITIONS WANTED
Classified Ads
( Continued, from Preceding Page)
WANTED
IMMEDIATE CASH PAYMENT FOR
CAMERAS AND EQUIPMENT
NEED EYEMOS (SINGLE LENS AND TURRET)
MITCHELLS, ARRIFLEX, DE BRIES, B&H STANDARDS
AND HI-SPEEDS, WALLS, AKELEYS, CINE SPECIALS,
AURICONS, MAURERS, FILMOS. ALSO BALTARS,
COOKES AND OTHER LENSES. SOUND STAGE
LABORATORY AND EDITING EQUIPMENT OF ALL
TYPES REQUIRED. PLEASE SHIP INSURED OR FOR¬
WARD DESCRIPTIONS AIRMAIL. IMMEDIATE PAY¬
MENT.
GORDON ENTERPRISES • 5362 N. Cahuenga
NORTH HOLLYWOOD, CALIFORNIA
F & B PAYS MORE
FOR USED 1 6/35MM EQUIPMENT
WRITE — WIRE — PHONE
FOR OUR CASH OFFER
FLORMAN & BABB MU. 2-2928
70 W. 45TH ST. NEW YORK 36, N Y.
WANTED
Mitchell • — Akeley — B&H — Wall - — - Eyemo
Cameras — Lenses — Equipment
NATIONAL CINE EQUIPMENT, INC.
209 West 48th St. New York, N.Y.
WANTED — Super 1200 Auricon, complete; used Mitch¬
ell 16mm camera, used, geared pan and tilt head
and several good used sound projectors. BOX
1206, AMERICAN CINEMATOGRAPHER.
WANTED
WANTED
PRODUCTION EQUIPMENT, LABORATORY EQUIPMENT,
EDITING EQUIPMENT, 16mm. and 35mm. FROM SIN¬
GLE ITEMS TO COMPLETE STUDIOS. TRADES AC¬
CEPTED.
THE CAMERA MART, INC.
1845 Broadway Circle 6-0930 New York 23, N.Y.
CAMERA & SOUND MEN
TOP-NOTCH cameraman available. Has done over 400
TV films, industrials, commercials. Eastmancolor,
kodachrome, B&W. Has made films all over U.S.,
Canada, Mexico, Europe. Now available for the¬
atrical short subjects, features, or TV film series.
Has complete Mitchell equipment. BOX 1205,
AMERICAN CINEMATOGRAPHER.
MOTION picture cameraman thoroughly experienced
with camera, sound, and editing desires relocation.
Presently with midwest television station. Age 28,
married. HAROLD M. LYNCH, 2000 W. 10th, Apt.
C-2, Sedalia, Missouri.
POSITIONS AVAILABLE
THE UNIVERSITY OF MINNESOTA has an opening in
their Audio-Visual Education Service for a motion
picture production technician who is familiar with
all phases of educational and documentary film pro¬
duction. Must have college degree (Education pre¬
ferred) plus graduate training or several years of
professional experience. Direct inquiries to: EM¬
PLOYMENT BUREAU, Room 17, Administration
Building, University of Minnesota, Minneapolis 14,
Minneapolis.
NEGRO — Catholic, experienced cameraman, 35mm
newsreel, 16mm color productions, editing, light¬
ing, titling, also projectionist. MALCOLM MYERS,
3424 Clark Ave., St. Louis 3, Missouri.
LABORATORY & SOUND
SOUND RECORDING at a reasonable cost. High
Fidelity 16 or 35. Quality guaranteed. Complete
studio and laboratory services. Color printing and
lacquer coating. ESCAR MOTION PICTURE SERVICE,
INC., 7315 Carnegie Avenue, Cleveland 3, Ohio.
Phone Endicott 1-2707.
ROCKY MOUNTAIN 16MM HEADQUARTERS
Processing — Printing - — Recording
Editing — Production — - Rental — Sales
DuPont, Eastman and Fastax films in stock.
Write for Price List.
WESTERN CINE SERVICE, INC.
114 E. 8th Ave., Denver 3, Colo. TAbor 5-2812
LOWER cost 16mm editing and sound recording —
— only 22 miles from Hollywood. EL RANCHO
AUDIO, 26236 Fairview Avenue, Lomita, California.
DAvenport 6-4925.
INSTRUCTION, CORRESPONDENCE SCHOOLS, ETC.
NATIONWIDE SCHOOL OF CINEMATOGRAPHY— Com¬
plete professional course in cinematography, cover¬
ing all phases of motion picture production and
technical aspects. Many leading newsreel and TV
cameramen started their careers with a Nation¬
wide diploma. Course now available by mail at
reduced rates, easy installment plan. For details
write NATIONWIDE SCHOOL OF CINEMATOG¬
RAPHY, Dept. C, P.O. Box 56, Garland, Texas.
Bell & Howell Announces New 16mm Lenses
L
ALL THREE new Bell & Howell-Angenieux lenses
may be mounted on camera turret without
physical or optical interference.
I wo New Lenses for 16mm cameras
— one, a 10mm f/1.8 having the wid¬
est field of view of any lens commer¬
cially available, and the other, a one-
inch f/0.95, one of the fastest lenses
available covering a normal field — will
be available from Bell & Howell Com¬
pany and its dealers after April 14,
1955. The lenses are manufactured to
Bell & Howell specifications by Pierre
Angenieux of France.
The new 10mm f/1.8 lens combines
an extremely wide field of view with
unusual speed. The short focal length
gives added depth of field with close
and distant objects equally sharp.
Highly corrected for aberrational
distortion, it “sees” straight lines
straight and architectural images in
true proportion, despite its extremely
wide angle coverage.
To the movie maker interested in
the modern emphasis on wide angle
shots, this lens offers new and reward¬
ing experiences in perspective. In pro¬
fessional movie making the wide angle
shot, which frames an entire scene, is
as important as the closeup of the action
itself. In industrial plants the new lens
will record an entire production line
with a minimum of extra lighting.
For home movies it permits the filming
of family events with an entire room as
the stage. This is especially effective
for large groups or, for example, at
Christmas when the room is attractively
decorated for the occasion.
The new one inch f/0.95 lens com¬
bines unsurpassed speed with sharp
definition and contrast never before
achieved in a truly fast lens. Its
ingenious 8-element design was devel¬
oped after years of research on the
performance characteristics of high
speed lenses. It is fully color corrected,
an outstanding achievement in a lens
of its speed.
This speed virtually eliminates the
necessity for extra lighting except for
special effects. Fully exposed color mo¬
vies may be taken in any well-lighted
room. With the new high speed black
and white films it makes possible shots
heretofore considered “unfilmable.”
The lens will be especially valuable
to television, newsreel and industrial
cameramen where only normal room
lighting is available, such as in some
courtrooms, at indoor athletic events,
and in some industrial plants. It is
ideal for amateur movies indoors and
for travel and vacation filming under
adverse lighting conditions.
The two new lenses, together with the
Bell & Howell-Angenieux three inch
f/2.5 telephoto lens announced in De¬
cember, provide the most versatile, fast¬
est combination of lenses in the world
today. All three may be mounted on
the Bell & Howell 70-DL or 200-TA
Auto Master cameras without physical
or optical interferences of any kind,
giving a iy2 to 1 (75mm to 10mm)
range of focal lengths.
The lenses may be mounted on any
16mm camera having a standard C-
mount.
The one-inch lens with stops from
f/0.95 to f22 and a focusing mount re¬
tails at $209.50. It takes a size 5.5
filter.
The 10mm f/1.8 wide angle lens, a
6-element inverted telephoto with fixed
focus and a range of f/1.8 to f/16,
retails at $124.50. Special slip-on fil¬
ters are now available.
246
©
American Cinematographer
April, 1955
The man with the new K-100
Keep your eye on him, the man with the new 16mm.
Cine-Kodak K-100 Camera. Because here’s a man
who really knows his movies. Wherever you see him,
you know important things are going on.
Perhaps he’s a commercial photographer or a
television program man. Perhaps he’s an advanced
amateur really serious about fine movies. Watch him
work— there are big ideas in his script. And he’s
getting them.
The man with the Cine-Kodak K-100 Camera is
a man who must have the unsurpassed quality of
Ektar Lenses. For his long scenes, he needs a forty-
foot film pull from one winding. He has to have a
finder that combines the advantages of optical and
sports-type finders. He may even be using sound
film.
Above all, he’s a man who must have the K- 100’s
convenient versatility for dissolves, slow-motion
scenes, multiple exposures, and other advanced tech¬
nical effects.
That’s why he has a K-100. If you’re also interested
in high precision and versatility in a moderate-priced
16mm. camera, you should probably have one, too.
See it at your Kodak dealer’s.
Most Kodak dealers offer
convenient terms. Prices
include Federal Tax and
are subject to change with¬
out notice.
Specifications: Takes 50- or 100-foot, single- or double-perforated 16mm. film. 165° shutter.
1 /35-second exposure at 16 frames per second; 1/20 at single frame. Provision for hand
crank or electric-motor drive. Hand crank permits back winding film up to 2 feet. 16 to 64
frames per second. Finger-tip release provides for single frames; locks for continuous run¬
ning. Pre-stressed spring motor. Meters indicate footage remaining on roll and on wind.
Telescopic-type finder corrected for parallax. Indoor-outdoor exposure guide. Nylon gear¬
ing. Body of die-cast aluminum with black Kodadur covering. Size, 8% x 534 x 2x/i inches.
Price, with Kodak Cine Ektar II 25mm. //1. 9 Lens, $269; with Ektar //1.4 Lens, $369.
EASTMAN KODAK COMPANY, Rochester 4, N. Y
announces
tte»T
1C tra<*
cforatet
or Mil. 1
Color-Correct* duplicate prints
highest standard in the industry
now yours with the best in
magnetic striping.
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Magnetic sound tracks for
black & white or color film,
single or double perforated
gin a1 &
<r S"
illltl
Sound tracking new or old 16mm film
on the Soundcraft Magna-Striper*,
similar in every detail to the
Academy Award Magna-Striper*.
t s©UtM>
Mil- n'ag‘
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n magnetic
Magnetic oxide sound tracking
in 3 widths — each with balancin
stripe — for 3 purposes.
Special one-day service
for “rush” orders.
*Reg. U.S. Patent Office
For full information write, wire or phone
byron
Studios and Laboratory
1 226 Wisconsin Ave., N.W., Washington 7, D.C. DTJpont 7-1800
PRACTICALLY EVERY 16MM FILM PRODUCER IN THE WESTERN HEMISPHERE IS A CLIENT OF BYRON
FOREIGN
In This Issue . . .
Cinematography In
Parachute Research.
Filming A ‘Round-The-
World Cruise.
College Crew Makes
Training Films.
Something New In
Camera Cranes.
Small Objects ,
Big Closeups.
El
Filming Buick TV commercials. Story on page 278
Frank Phillips — the cameraman who photo-
1 graphed the race thrills for “The Racers."
Story on Page 272.
“Electronicam” TV-film camera televises an;'
films a program simultaneously. Descriptive
story begins on Page 280.
A SENSATIONAL NEW PROCESSOR!
at a sensational low price!
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HOUSTON FEARLESS
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Never before has there been a motion picture film processor so
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fast, quality processing must be achieved on a small budget.
Daylight operating. Completely self contained. In-line design.
Small, compact, can be operated against a wall. All parts acces¬
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processor value ever offered. Send the coupon now for full details!
never go out of focus
No other mirror, only a Perma-Lock
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\ after every globe removal.
SI Even a severe jolt can't
|^h\ iffw V disalign mirror. Other
1 1 1 McAlister features: spot to
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from front or rear, Fresnel lens
ft standard. Today, call or write:
WORLD HEADQUARTERS FOR THE FINEST ENGINEERED LIGHTING EQUIPMENT
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CONSOLIDATED
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AMERICAN
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
PUBLICATION OF THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
Arthur E. Gavin, Editor
Marion Hutchins, Editorial Assistant Emery Huse, Technical Editor
Editorial Advisory Board: John Arnold, Arthur Edeson, Lee Garmes, Charles
Rosher, Leon Shamroy, Fred Gage, Glenn R. Kershner
Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Calif.
Telephone: Hollywood 7-2135
VOL 36 MAY • 1955 NO. 5
In This Issue
ARTICLES
Filming Auto Race Thrills For ‘The Racers’ — By Herb A. Lightman - 272
Cinematography In Parachute Research . 275
Filming a ’Round-The-World Cruise — By Ray Jewell . 276
Something New In Camera Cranes . 278
‘Electronicam’ — Du Mont’s New Dual-recording TV-Film Camera - - 280
Photographing the 1955 Mobilgas Economy Run . 281
This College Campus Film Crew Makes Training Films — By Dennis W.Pett 282
Defining Optical Definitions— By John Arnold . A.S.C. 285
Small Subjects, Big Closeups — By Leo Caloia . 286
Combining Black-and-white With Color— By Ernst Wildi - 288
FEATURES
Industry News . . 254
What’s New In Equipment, Accessories, Service . 260
Catalogs & Brochures Available to Readers . 270
Hollywood Studio Production . 202
Print Dryer Makes Rolling Titles . 304
20tii Century-Fox Develops “Zoom” Spotlight . 306
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiillilliiiiiiiiiiiiiiiiiiiiiii
AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. =
C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. Entered as second class matter M
Nov. IS, 1937, at the postofficc at Los Angeles, Calif., under an of March 3, 1879. SUB- s
SCRIPTIONS: United States and Canada, $3.00 per year; Foreign, including Pan-American H
Union, $4.00 per year. Single copies, 25 cents; back numbers, 30 cents; foreign single m
copies, 35 cents; back numbers, 40 cents. Advertising rates on application. Copyright 1955 M
by A. S. Agency, Inc.
&
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positive operation under the most exacting condi¬
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35mm BMC MODI!
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—is internationally known for dependability and performance, for
superb photography, Mitchell 35's are available in BNC (blimp '
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INDUSTRY NEWS
The trend to larger negatives and
larger frame dimensions marked devel¬
opments in the technical realm of the
motion picture industry last month.
On April 21, Earl I. Sponable, re¬
search director for 20th-Century-Fox,
announced that studio’s development of
a new photographic process for shooting
Cinema-Scope pictures on film 55mm in
width instead of the conventional 35mm
film. The new 55mm frame area is said
to have almost twice as much informa¬
tion recording surface as any other large
frame process proposed to date. The new
film (actually 55.625mm in size, but
referred to simply as ‘‘55mm”) is the
optimum size for a negative image from
the point of view of film grain and in¬
formation storage ability, according to
Eastman Kodak and Bausch & Lomb en¬
gineers who have tested the negative,
t he new film size has four times the
area of the present CinemaSeope nega¬
tive.
It was just a little over 35 years
ago that Fox launched the famous
“Grandeur” 70mm film, marking the
first attempt in this century to introduce
wide-screen and large frame film for
motion pictures.
Subsequent to Mr. Sponable’s an¬
nouncement, Twentieth Century-Fox re¬
vealed that it would roadshow its top
calibre productions, such as “The King
and I” and “The Greatest Story Ever
Told” with 55mm prints.
★
Metro-Goldwyn-Mayer was right be¬
hind Fox in the move to wide film. Just
a few days after the Sponable announce¬
ment, E. J. Mannix, studio manager, an¬
nounced that Metro would switch to
65mm photography for all its top pro¬
ductions. MGM’s 65mm shooting system
will employ conventional cameras with
mechanisms adapted to handle the
double-size negative. The cameras will
use the APO Panatar lenses developed
by Panavision. Nothing was implied in
Mannix’s announcement that this switch
to large area negative would finally
bring to light the horizontal film travel
camera which John Arnold, the studio's
camera department head, has developed
and which has been under wraps for
over two years. This camera, which util¬
izes interchangeable film movements and
apertures, will photograph a negative in
a wide range of aspect ratios, from the
standard “3 by 4” up to frames ten
sprocket holes in width.
Harry E. Pratt, for twenty-eight years a
member of the W. J. German, Inc. or¬
ganization, which distributes Eastman
professional motion picture film, has
been elected vice-president of the com¬
pany in charge of television film sales.
Pratt, with his assistant, Ernest Lov-
ingood flew to New York early in April
to attend conference with president Wil¬
liam German and members of the com¬
pany’s executive staff in Ft. Lee, N. J.
★
Removal to new and more spacious
quarters has been announced by Neu-
made Products Corp., one of the leading
manufacturers of motion picture pro¬
duction and film storage equipment. On
May 9th, company will take possession
of its new quarters in the F’isk Building,
250 West 57th Street, New York City.
Oscar F. Neu, head of the company,
is also the founder of the Theatre Equip¬
ment and Supply Manufacturers’ Asso¬
ciation, having served as president for
six consecutive years.
★
At the end of the first eleven days of
shooting MGM's “Trial,” the produc¬
tion was already a day and a half ahead
of schedule and the company expected
to shave footage about 2000 feet, ac¬
cording to Robert Surtees, ASC, direc¬
tor of photography on the production.
Reason is that director Mark Rob¬
son is devoting more time to rehearsals
with consequent savings in production
costs. “It affords me more time to work
out camera angles, too,” said Surtees.
★
An electronic test panel for use in
checking out and locating malfunctions
in the most complex of the new cameras
and camera equipment has been installed
by Gordon Enterprises, North Holly¬
wood, Calif. Operation of panel controls
is similar to that of a dial telephone.
Dialing a number actuates a series
of circuits which adjusts the mechan¬
ism of the panel to the electrical char¬
acteristics of the camera being checked.
★
A new activity, which will concentrate
on design, research and production of
special, rapid film processiog equipment
for military and commercial application
has been activated by Fairchild Camera
and Instrument Corp., Long Island,
N. Y. It will be under the supervision of
Charles N. Edwards who has been asso¬
ciated with photographic processing and
processing equipment for the past twelve
years.
254
American Cinematographer
May, 1955
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Hollywood
Bulletin Board
TRADITIONAL rite at the ASC Clubhouse, following presentation of the annual Academy
Awards is this picture-hanging ceremony when the “Oscar” winning cameramen hang
their photos on the ASC’s “Wall of Fame.” On left is 20th-Fox cameraman Milton Krasner.
Hanging photo for absent Boris Kaufman is ASC president Arthur C. Miller. Occasion
was April 11th meeting of the Society.
NEW MEMBERS recently admitted to American
Society of Cinematographers are officially
greeted by ASC president Arthur Miller, left.
Members, from left to right, are: Gert Anderson
(active), Stacey O'Brien (associate), and Leslie
J. Baker (associate).
New Officers and Board members for
1955 were elected last month by the
American Society of Cinematographers.
Reelected president for a second term
was Arthur C. Miller. Also reelected
were Sol Halprin, 1st v-pres. ; Alfred
Gilks, 3rd v-pres.; Walter Strenge,
treasurer; and Robert De Grasse, sgt.-
at-arms. Charles G. Clarke was elected
secretary, and William Skall, 2nd v-pres.
The following were elected to the
Board of Governors: Ray Rennahan,
Burnett Guffey, and Winton Hoch. Al¬
ternate Board members for 1955 are:
Ellis Carter, Paul Eagler, Farciot Ed-
ouart, Irving Glassberg, Milton Krasner,
Ernest Laszlo, Robert Pittack, John
Seitz, James Van Trees, and Paul Vogel.
Installation ceremonies took place at
the Society’s Testimonial Dinner honor¬
ing Charter Members Arthur Edeson
and Victor Milner (described elsewhere
in this issue) on the evening of April
25th.
Leon Shamroy, ASC, veteran Fox di¬
rector of photography and the man who
has the distinction of shooting the first
CinemaScope production, “The Robe,”
was signed to a new contract last month
by Twentieth Century-Fox studio.
★
John Arnold, ASC, head of M-G-M’s
camera department, journeyed to New
York last month to supervise special
photography for a sequence in M-G-M’s
(Continued on Page 270)
DEMONSTRATING the new Arricord magnetic sound recording
camera to former ASC president Charles G. Clarke is Dr. Robert
Richter (left), head of Arnold & Richter, Germany, and Paul
Klingenstein (right), president of Kling Photo Corp., New York,
distributors of Arriflex cameras and equipment.
ANAMORPHIC LENS equipped 35mm Arriflex camera is demonstrated
by Dr. Richter to Ray Mercer, ASC, and Lester White, ASC.
Occasion was recent monthly meeting of the American Society
of Cinematographers when the new Arriflex cameras were put on
display for first time for the industry’s directors of photography.
256
American Cinematographer
May, 1955
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TELEFILM STUDIOS has one primary objective, to
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For complete information, visit Telefilm Studios
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accessible without releasing the film
from engagement with the intermittent
sprocket. Reversible, variable-speed
motor operated by foot controller.
Machine may also be hand-braked at
winding flange. Film may be stopped
and remain stopped for as long as
desired without damage to film
or machine. Handles film on 10-inch,
1000-foot reels. For 100-120
volt, 25-60 cycle operation.
Shipping weight approx. 40 lbs.
Regular price, $393.00.
Limited quantity— brand new.
Special price,
$289°°
f.o.b. North Hollywood, Calif.
Brand new and guaranteed.
s
* j- v j n gr t A e fV o r> / e!
Cable Address: GORDENT
Telephone: STanley 7-5267
5362 North Cahuenga Blvd., North Hollywood, Calif.
NAIDICH
ONE OF A SERIES
There is a subtle
but important
element of grace in
SPEED
which distinguishes it from mere haste.
It is movement with meaning . . .
motion without waste . . .
and it is reflected in quality product
as well as prompt service.
i
f
i
COMPLETE 16mm & 35mm SERVICES, including
MAGNETIC STRIPING... ANY WIDTH. ..ANY POSITION,
16mm COLOR PRINTING
GENERAL FILM LABORATORIES CORP.
1546 NO. ARGYLE • HOLLYWOOD 28, CALIF. • HO 2-6171
1 A TRULY 1
I CAMERA I
EE for TV, Newsreel
= and commercial
= For tough and trying assign- ~
ments, ARRIFLEX 35 is in a zz:
:zz class by itself. Reflex focusing ^
— through photographing lens ~
EE while camera is operating — zr
= this is just one outstanding ^
== ARRIFLEX feature. ~
Matte Box
National Cine Equipment Co., Inc.,
209 West 48th Street, New York 36,
N. Y., announces a new combination
matte box and sunshade for use with
8mm cine cameras and all professional
and non-professional 16mm cameras.
Unit provides for use of 2" square and
3" square glass or gelatine filters, and
various effect devices such as gauzes,
diffusion biters, effect biters, etc.
The matte box is made of aluminum
castings. Support rods are of dural. The
base will bt all cameras. A feature is
that it may be used with the Cine-
Special without the need for dismount¬
ing the camera whenever him magazines
are to be changed. List price is $44.95.
Descriptive literature is available.
tating prism, and Hat held projection
lens. A single, one-direction handle is
especially geared for smooth him ad¬
vance and rapid rewinding.
Kodak Pictorial Filters
Designed especially for use with black-
and-white blms such as Tri-X, Super-
XX, etc., are the series of Kodak Pic¬
torial Filters, available in yellow, red,
and green, and manufactured by East¬
man Kodak Company, Rochester, N. Y.
Designed to give black-and-white
negatives greater contrast and realism,
these new, inexpensive biters are made
of solid optical glass and have high trans¬
mission accuracy.
The yellow biter darkens blue skies,
emphasizes clouds, contrasts an object
EE Equipped with bright, right-
— side-up image finder, 6V2 x ^
— magnification. Solves all par-
EE allax problems. 3 lens turret. =
— Variable speed motor built EE
iz: into handle operates from —
— lightweight battery. Tachom- zE:
eter registering from 0 to 50 rE
— frames per second. Compact, =
— 1 lightweight for either tripod zz:
=r=: or hand-held filming. Takes ^
: — 200' or 400' magazine. Write EE
EE for free folder. =
— Blimp now available. EE
~ 1 6 mm ARRIFLEX also available."
FRANK C.ZUCKER
nm€RH Couipmem ( o
1600 BROflDUJfly \ n€UJ SORK ciiy
8mm Viewer-Editor
The Kalart Company, Inc., Plainville,
Conn., announces a brand new viewer
and editor for 8mm cine films, which
accepts reels up to 400-ft. capacity. Unit
includes built-in splicer, and includes
bottle of film cement. Finished in Bake-
lite and mounted on polished hardwood
base, a sturdy steel frame mounts all
precision elements, including ground and
polished condenser lenses, precision 10-
or figure against the sky, and gives a
degree of haze penetration.
The red filter provides extreme con¬
trast in scenes by greatly darkening
skies, and it also cuts atmospheric haze.
Its use is limited to pan and infrared
films.
The green filter is used for natural re¬
production of blossoms and foliage and
for outdoor portraits against the sky. Its
use is limited to pan film.
Packaged in attractive plastic con¬
tainers, filters are priced as follows:
Series IV (Yellow) $1.45; Series IV
(red ) $1.95 ; Series V (Green) $1.65.
New Type Microphone
Electrovert, Inc., 489 Fifth Ave., New
York City, announces a new dynamic
cardiod microphone especially designed
for motion picture and television studios.
Salient feature claimed for this Euro¬
pean-made Model D-25 is its built-in
( Continued, on Page 262)
260
American Cinematographer
May, 1955
ARRIFLEX
16mm Mirror Reflex Camera
tke
ARRIFLEX
Model 1 1 A
35mm Mirror Reflex Camera
jP
Sound Blimp
for Arri 35mm Camera
MORE THAN 35 YEARS DEVOTED TO THE DEVELOPMENT AND
MANUFACTURE OF FINE MOTION PICTURE EQUIPMENT
FOR FILMING, PROCESSING AND PRINTING.
Since the formation of the company in 1919, the name
Arnold & Richter has been identified with the finest equipment
in the field. Through progress engineering, ARRI technicians
have pioneered many advances in movie technique.
Today, ARRI Equipment is used the world over — by noted
cameramen, in leading laboratories — wherever important
films are in the making.
Sole U. S. Agents
Contact and Optical Printers
16mm & 35mm — sound & silent
color and black-and-white
PHOTO COR.IP.
235 Fourth Ave., New York 3, N. Y.
7303 Melrose Ave., Hollywood 46, Calif.
Film Processing Machines
16mm & 35mm — color and black-and-white
. . . in equipment, accessories, service
(Continued from Page 260 )
low-frequency equalizer which automati¬
cally eliminates all low-frequency rumble
and hum.
Other important features are: perfect
cardoid pattern; does not employ ribbon
element ; has excellent frequency re¬
sponse from 30 to 15,000 cycles; and is
completely shock-mounted. Microphone
is said to be ideally suited for use with
tape recorders which do not have built-
in equalizers.
Net price is $232.00. Without shock
mount. $182.00.
The microphone is sold and serviced
by Camera Equipment Company, 1600
Broadway, New York City.
New Cine Camera Lenses
Elgeet Optical Co., 838 Smith St.,
Rochester, N. Y., announces two new
Cinematar lenses for cine cameras. The
first is a 38mm (ll/£>") focusing tele¬
photo lens priced at $29.95. It features
a depth-of-field scale, stops down to f/22,
has hard coated lens elements, and satin
chrome finish. It provides 3X magnifica¬
tion and will focus down to 3 feet. It
comes in standard D-mount and can be
adapted to the Bolex L-8, Univex Cine-
master, and the B&H 8mm tri-lens turret
model cameras with conversion adapters.
Second lens is a 75mm (3") focusing
telephoto, priced at $47.50. This is the
first Elgeet Cinematar made for 16mm
cameras. It can be stopped down to f/22
and focused as close as 3 feet. It will
fit all C-mount cameras. It can also be
adapted to 8mm cameras.
J. G. McAlister Expands
J. G. McAlister, Hollywood manufac¬
turer and distributor of motion picture
lighting and production equipment, has
expanded warehouse facilities, leasing an
additional 10,000 square feet of floor
space at 5418-20 Sierra Vista Ave.,
Hollywood. Firm will continue to manu¬
facture at its 1117 No. McCadden Place
address. Important new equipment in¬
cludes the original dual-steering, all¬
angle camera dolly recently acquired
from Stevens rentals, Hollywood.
Portable 35mm SOF Projector
W. R. Mendels, Inc., 41 East 42nd
St., New York 17, N. Y., are distribut¬
ing the Phillips portable 35mm motion
picture projectors in the U. S.
The equipment, pictured above, is
known as model 8730/20, packs into six
portable cases plus a canvas case for the
stand. The accessory 10' x 13' screen
and its collapsible frame pack into a
second canvas case. The system can be
assembled and put into use by one man
in 10 minutes.
Motor operates on 40 to 60 cycles AC
current; the entire film path is enclosed;
there is an automatic cutoff of both pro¬
jection lamp and motor in case of film
interruption; incandescent lamp is used
instead of arc; light output is 850
lumens.
Optical Recording
is needed now more than ever
THE LATEST
BLUE SEAL 35mm FILM RECORDER
Do your own transfer or
re-recording from magnetic
or optical to 35mm film.
• Rotary film drum with stabilizer.
• Completely enclosed gear drive.
• Film footage counter.
• Synchronous motor 115V single phase or
220V 3 phase.
• Takes Bell & Howell type magazines.
• Precision machined throughout.
If you have a 16mm Auricon or Maurer you con
also use your present amplifier equipment.
BLUE SEAL 35mm RECORDERS:
— without galvanometer; Reg. $5000 .... NOW $2695
— with Auricon Modulite Galvmtr;
Reg. $5500 . NOW 3190
— with Maurer Neg./Pos. Dual Track;
Reg. $7500 . NOW 4645
— with Blue Seal variable area dual
bi-lateral track galvanometer;
Reg. $6500 . NOW 3895
1000 ft. Film Magazines . ... EACH 165
Save time , money , film!
Ecco 1500 Speedrol
Film Cleaner & Applicator
Fills the gap between impractical and wasteful
hand-cleaning methods and expensive automatic
machines. Cleans all film as you inspect itl
• Even flow; no fluid evaporation or leakage.
• Film wiped thru compact woven flannel cloths.
• Fed to takeup reel dry.
• Produces clean polished film.
• Makes film static free, lubricated, pliable.
• Gives film longer, brighter life.
Priced ONLY $29.50
SM CINEMA SUPPLY CORP.
Dept. F, 602 West 52nd St., New York 19
Phone: PLaza 7-0440 — Cable SOSOUND
262
American Cinematographer
May, 1955
IDENTIFY FILMS INSTANTLY
Moy edge numbers every foot of 16 and 35mm film — simpli¬
fies the task of checking titles, footage. Replaces cue marks,
perforations, messy crayons, punches, embossing and other
unsatisfactory methods which mutilate film. Work prints show-
ing special effects, fades and dissolves require edge num¬
bering to keep count of frames cut or added. Multiple
magnetic tracks in CinemaScope, stereophonic recordings
make edge numbering a MUST. Write for illustrated brochure.
With
New improved
Non-Clog Inking
System, $2475
Present Moy owners
can easily install
the new and
improved inking
system!
AMONG RECENT PURCHASES ARE:
Reeves Soundcraft, Springdale, Conn.
Holland & Wegman, Buffalo, N.Y.
American Optical (Todd AO|, Hollywood
Indonesian Supply Mission, N.Y.C.
Cinerama Productions, New York
Columbia Broadcasting System, N.Y.
S.O.S. I (mm TITLED AND
SPECIAL EFFECTS KIT TG1 1
For Professional Results!
For producing the widest range of titles, trick films,
cartoons, animation, etc. Takes most types of movie
cameras. Horizontal and vertical operation. Table ad¬
justable norht, east, south, west. Front and rear il¬
lumination. Title board size 5 '/6 " x 7%", overall
dimensions 30" x 1 2" x 9"; weight 20 lbs. Complete
with all accessories. Write for illustrated brochure.
MODEL TG II, 16mm (illustrated) $159.50
MODEL TG III, 16mm . $198.50
MODEL TG IV, 16/35mm . . $295.00
Here, under one roof,
an entire building . . .
a single source of supply
for practically every con¬
ceivable need of film
production equipment —
including processing, re¬
cording and editing of
motion picture films — an
enormous stock, more
varied and more com¬
plete than any in the
industry.
S.O.S. 16mm
ACTION VIEWER
ASSURES
BIG,
BRIGHT,
CLEAR
PICTURES
NOW you can run original as well as
prints with complete confidence on the
S.O.S. Action Viewer — its roller-smooth ac¬
tion is positive insurance against film
scratching, or damage to film sprocket-
holes. Designed to view films easily . . .
for editors, laboratory workers, animators
and TV technicians. A truly professional
optical insrtument.
• BIG, CLEAR IMAGE, 3" x 4"— no flicker.
• Pictures approach that of a projector.
• No excess heat on film when still.
• Coated Optical Prism Magnifying View¬
ing Glass. Can be viewed in lighted
room; no ground glass. Comfortable
viewing distance at 10" to 14".
• Self-lubricating bearings, no oiling.
• Can be synchronized with Precision
Sound Readers.
• Simple 5-second threading.
• Individual Framing & Focusing Controls.
• Hi-Power projection lamp — easily re¬
placed.
• Lamp adjustment control for maximum
illumination. Film may be rewound
without passing thru viewer. Operates
in conventional manner — left to right.
• Built-in Cue Marking Device.
BUILT OF RUGGED ALUMINUM ALLOY:
16" x 10" x 12"; WEIGHS BUT 9 LBS.
ONLY $124.95
FILM PROCESSING
-S™, PAYS FOR ITSELF
Bridgamatic RT-R, 52" high x 47" long by 30" wide —
one of 12 models, including color machines.
This new ultra rapid 16mm motion picture film
developer assures clear, sharp, brilliant images.
Entirely automatic. Requires no special skill.
Removes the guess, protects your precious orig¬
inals, dry-to-dry in minutes. No darkroom nec¬
essary.
MODEL RT-R 16mm Reversal . $5995
(Output 82' per minute at 98°)
ALL NEW MODEL R JR.
. 16mm REVERSAL . ONLY $1750
FOR
SPOT
OR
FLOOD
Extends
from
4 to 1 5
feet
high
bardweu i McAlister
MULTIPLE STRIPLIIES
For indoors, outdoors. 3 Striplites, each with 4 swivel
sockets and switch, holds twelve 1 50W R40 lamps —
totaling 1 800W illumination. Folds to portable size.
Tripod stand has two folding 1 ’/, " tubular steel arms
28" long with attached striplite lamp heads. Heads
measure 2" long x 2 % " x 3" high. Weatherproof
cable, plug. Rolling stand has three 4" rubber tired
casters. Can also be used with ColorTran converters.
Excellent condition. Original U.S. Government Cost
$180 . NOW Only $29.50
With One Striplite, four 1 SOW projector lamps $22.50
Multiple Striplite Lamp Heads Only $4.95
Telescopic Tripod Stand Only with 3 brackets... $1 9.95
S.O.S.
'The Department Store of the Motion Picture Industry”
PINFMA MIPPIV PfiRP 602 WEST 52nd ST., NEW YORK 19, NY
UIIVLIVI/I UUI I LI UUIII • Phone: PLaza 7-0440 Cable : S0S0UND
-V'
SfS -
EST. ffll 926
ONE CAMERA
16mm or 35mm
in 10 SECONDS!
Camerette IV35
Reflex Motion Picture Camera
The perfect camera for the motion picture film
maker working in both 16mm or 35mm color
•r black and white.
LOOK AT THESE ADVANTAGES —
A. S. (. FETES (HARTER MEMBERS
ARTHUR EDESON AHD VICTOR MILNER
ARTHUR EDESON, right, receives commemora¬
tive plaque and replica of the original ASC
Charter from screen director David Butler, his
life-long friend.
VICTOR MILNER, left, is presented the ASC’s
commemorative plaque and a replica of the
original ASC Charter by his son, Col. Victor
Milner, Jr., USAF.
• The same lenses, same motor drives, same
sound blimp and accessory equipment used
for both 16mm or 35 mm — to convert simply
change the magazine.
• Precise rugged movement
• Reflex viewing
• 200 degree adjustable shutter
• Divergent three lens turret
• Automatic film gate 400' magazines 16 or
35mm — the 16mm magazine will accom¬
modate daylight spools as well as standard
core load.
• Light weight — only 14 pounds with 3
lenses, 400' magazine, and 6/8 volt motor.
Write for brochure
vJ£Jamerette
patents coutant-mathot
Manufactured by Ets. Cine. Eclair, Paris
Arthur Edeson and Victor Milner,
only surviving charter members of the
American Society of Cinematographers
still active in the organization, were
honored at a testimonial dinner given in
their behalf by Society members at the
ASC Clubhouse the evening of April
25th.
Edeson and Milner, along with Philip
Rosen, Homer Scott, Wm. C. Foster,
L. D. Clawson, Eugene Gaudio, Walter
Griffin, Roy Klaffki, Charles Rosher, Joe
August, Fred L. Granville, J. D. Jen¬
nings, Robert Newhard and Guy V ilky,
organized the Society on the eighth of
January, 1919.
Both Edeson and Milner have served
as presidents of the Society and both
have been active on its Board of Gov¬
ernors for many years.
Although both men have been in
semi-retirement from active direction of
photography in the studios, they con¬
tinue to devote their time and efforts in
behalf of the welfare of brother ASC
members.
Over a hundred fellow-craftsmen and
guests were present at the dinner honor¬
ing the men who played a significant
part in the founding of the Society.
Special guests who attended the affair
include screen director David Butler,
Benjamin O’Dell of the California Bank
— both lifelong friends of Arthur Ede¬
son — Col. Victor Milner, Jr., USAF, Dr.
Robert Richter, and Paul Klingenstein.
Preceding the presentation of the So¬
ciety’s commemorative plaque and rep¬
lica of the ASC Charter to Mr. Edeson,
David Butler reminisced on the many
turbulent days he spent on the sets at
Warner Brothers with him. In a humor¬
ous vein, he traced his experiences with
the director of photography who today
remains his favorite cameraman.
A surprise guest was Victor Milner’s
son, Col. Victor Milner, Jr., of the
USAF. He was prevailed upon to make
the presentation to his illustrious father
of the commemorative plaque and Char¬
ter replica. His unexpected extempo¬
raneous talk was a hit of the evening.
In introducing the honored guests of
the evening, ASC president Arthur Mil¬
ler said: “I first met Vic Milner many
years ago when he was beginning a
camera assignment for Pathe News in
which he was to tour with and cover
the activities of the New York Giants
baseball club.
“The first man that I can remember
proposing screen credit for cameramen
was Vic Milner. He felt that the man
who made scoops for the weekly news¬
reels deserved a by-line just the same
as newspaper reporters.
“The first screen credit for a camera¬
man that I can remember happened just
that way — on the Pathe News — and I
have always believed that this was the
forerunner of screen credits on today’s
feature productions.”
“The next man we are honoring this
evening, Miller continued, “is and for
a long time has been an indefatigable
worker in the interests of cameramen.
Whenever any progressive movement is
taking place, you always hear of Arthur
Edeson. I heard of his activities long
before I met him. Then we met when
he was forming the Cinema Camera
Club in New York in 1916. Later we
met again through his activities in the
Static Club. But let us hear more about
him from his good friend Ben O'Dell.”
Mr. O'Dell then recounted his friend¬
ly relationships with Mr. Edeson and
emphasized the high esteem in which
he is held by his many friends and
associates.
A number of congratulatory telegrams
and letters received by both men were
then read by president Miller. end
264
American Cinematographer
May, 1955
CAMERETTE
Now Available with Two
Important New Features!
★ Adapted for CinemaScope
★ Sound Blimp with Reflex Viewing
Now for the first time — a lightweight camera for CinemaScope photography — the
35mm Camerette with CinemaScope aperture, with full CinemaScope field visible
through the reflex viewer. Auxiliary turret and matte for regular photography.
New magnesium alloy blimp with viewing through the taking lens at all times through
the Camerette’s reflex finder, making a lightweight, fully blimped combination 16mm
or 35mm camera. Synchronous motors — 110-v single phase, 220-v three phase.
ONLY THE CAMERETTE HAS
Ability to use both 16mm and 35mm
film in one camera.
Reflex viewing through the taking
lens at all times for both film sizes.
Sound blimp with reflex viewing,
making a fully blimped, instantly
interchangeable 16mm or 35mm
camera.
Patents Coutant-Mathot
Manufactured by Eclair, Paris
W rite for descriptive literature
BENJAMIN BERG COMPANY
1410 N. VAN NESS AVE. • HOLLYWOOD 28, CALIF. • Hollywood 9-8023
MAGNASYNC MANUFACTURING CO., LTD. • 5521 SATSUMA AVE., NORTH HOLLYWOOD, CALIF. • POplar 6-1692
■
i!
■
a
■
tslfll
John Sutherland production "The
Living Circle" produced in the
jungles of Honduras. Sound was
recorded with Magnasync team —
X-400 recorder and G-924 mixer
by Mexican technicians.
Magnasync G924 Multi-Channel
Mircrophone mixer
Designed specifically for motion picture sound record¬
ing and remote broadcast transmission, this high level
mixer features lightweight portability (19 lbs.)/ dialog
equalization on each incoming channel, master gain
control, built-in Microphone talk-back system, and is
engineered by and for sound engineers, incorporating
top quality components.
The "conventional" setup illustrated, offers a pro¬
fessional mixing system generally when working space
is a problem. For the engineer who prefers a console
mixing operation, the G-924 Mixer units can be placed
side-by side providing a "miniature console."
Professional Net Price $375.00
Director Larry Lansburgh, owner of
the Magnasync equipment, is
famous for his Academy Oscar
nominee "Beauty and the Bull" and
the Walt Disney production "The
Littlest Outlaw."
Magnasync x-400 Recorder
Featuring extreme portability and economy, the X-400
is a complete synchronous 16 mm Magnetic film record¬
ing and reproducing channel, professional in every
detail. Illustrated is the "2-in-l" unitized construction
showing mechanical unit stacked on amplifier. Cases
can also be separated and placed side by side for
those who desire "console operation." Positive projec¬
tor or camera interlock can be made with a simple
flexible-cable gearbox.
Producer Net Price $895.00
I ALL PRICES F.O.B. NORTH HOLLYWOOD, CALIFORNIA;
Send for complete specifications | EFFECT|Ve January, 1955. subject to change without notice.
MAGNASYNC X-400 RECORDER
and G-924 MIXER
NEW YORK — Camera Equipment Co., 1600 Broadway, New York
19. JUdson 6-1420. Coble Address CINEQUIP.
SAN FRANCISCO — Brooks Camera Co., 45 Kearney St., San
Francisco, Calif. EXbrook 2-7348.
CANADA — Alex L. Clark, Ltd., 3745 Bloor St., Toronto 18,
Ontario. BEImont 1-3303.
CHICAGO — Zenith Cinema Service, Inc., 32S2 Foster Ave.,
Chicago 25, III. IRving 8-2104.
BHHHi
PARTNERS IN
PRODUCTION!
mflcnosvnc
SYNCHRONOUS
< gfr HIM ilCOROli
THE
PERFECT TEAM!
"Auricon Pro-600”
with Critical Ground-Glass Focussing,
available on 3-Lens Turret Model.
“AURICON PR0-600 9 9 for 16mm optical
sound-on-film
Auricon
BERNDT-BACH, INC.
6902 Romaine Street, Hollywood 38, California
MANUFACTURERS OF SOUN D - ON - F I LM
RECORDING EQUIPMENT SINCE 1931
AuWU* L-r-j
Z-n Holl ywood
"Auricon Pro-600”
Turret Model with
"Zoom” type Lens
and Finder in use.
Write for free illustrated "Auricon Pro-600" literature
and price schedule.
Au*ico*
Hof
Self-blimped for completely quiet studio operation. The whisper-quiet film flow
of The Auricon Pro-600 is silent proof of precision design. Your sound-recording
microphone never picks up "Pro-600" Camera noise!
600 ft. film Magazines with Auricon-Electromatic Take-up,
for 16 minutes of continuous "Talking-Picture" filming.
Synchronous Motor Drive for "Single-System" or
"Double-System" Recording.
$1,165.00 list. . .for Auricon Pro-600 "Double-System"
professional picture-camera with built-in features.
Also available at added cost is "Single-System"
equipment for Optical Sound-Track-On-Film, "C-mount"
Lenses, View-Finders, Film Magazines, 3-Lens Turret,
Critical Ground-Glass Focusing, Lens Sun-Shades,
Tele-Finders, etc. . .
"Auricon Pro-600”
features Push-Button "On-Off/
with safety-interlocked
film-flow mechanism.
Sold with 30 day money-back guarantee, you must
be satisfied!
■
HOLLYWOOD
FILM COMPANY
Manufacturers and
Distributors of:
Bloop Punches
Cans, Film Strip
Editing Tables
Film Bins
Film Racks
Flanges
Film Editing Gloves
Leader Stock, 16 & 35 mm
Measuring Machines
Plastic Cores, 16 & 35 mm
■ Jj
Reels, 16 & 35 mm
Reels, Non-Magnetic
Split Reels
Rewinds
Sound Readers
.
Splicers
y’ * ' ''YnB
Storage Cabinets
Vault Cans
Scotch Tape
Cloth Tape
Sound Recording Tapes
956 NO. SEWARD ST.
HOLLYWOOD 38, CALIF
precision film editing equipment
HO-23284
Magnetic ^hio ) laminate.
NOW YOU CAN RECORD
DIRECT TO YOUR PRINT'
for High Quality REPRODUCTION
MAGNETIC
LAMINATE
SOUND TRACK
Scotch
n d i
BRAND
The only low cost
magnetic process with
High Quality Reproduction —
(10 to 12 decibel higher gain).
Has uniform quality — The magnetic track is uniform
and precise in thickness, placement and width — micrometer controlled !
It’s different! — A non-liquid process, coated by Minnesota Mining, Jami
nated by Capital to your film absolutely flat and smooth.
No crowning, no spreading, no crinkling or cracking.
Gives you a choice —
I6mm or 8mm striping
30, 50, or 100 mil track width
placement on the base or •mulsion side of the film.
CAPITAL'S NEWEST ADDITION
TO ITS LONG LIST
OF QUALITY SERVICES
FOR THE CREATIVE PRODUCER
Scotch Track Brand
Magnetic Laminate and
the accompanying proc¬
ess are the registered
Fast, Dependable Delivery in Days -Not Weeks!
Write or Call Today for Details
and copyrighted brand
names of the 3M Com¬
pany.
APITAL
1905 Fairview Ave., N.E., Washingto
FILM LABORATORIES, INC.
Formerly McGcary-Smith Laboratories , / neorporated
2, D.C. f Telephone Lawrence 6-4634
Editing • Processing *Prlnllng*RCA Sound Recording a Capital Film Studios
ROUND The CLOCK SERVICES
Now
Celebrating
our 25th
ANNIVERSARY
Negative Developing
First Print Department
Ultra Violet and
Flash Patch Printing
16 mm and 35mm
Release Printing
Title Department
45 Cutting and
Editing Rooms
MOVIELAB
LABORATORIES, INC.
619 West 54th Street, New York 19, N. Y JUdson 6-0360
BULLETIN BOARD
(Continued from Page 256)
forthcoming production, “Lust For
Life.” Arnold has developed a special
photographic process for recording on
color film the various Van Gogh paint¬
ings which figure prominently in the
story. Process is said to record paintings
in CinemaScope and color with a fidelity
not obtainable with conventional pho¬
tographic methods.
★
Benjamin Berg, ASC, left April 24th
for a month’s visit to Paris where he will
demonstrate for the makers of the Eclair
Camerette a new electronic viewfinder,
which he developed for Eclair cameras.
Berg is American distributor for Eclair
cameras and related equipment.
Berg will also attend the Biennale
Photo - Cinema - Optique (international
photographic equipment show) which
opens in Paris on May 4th.
★
Russell Harlan, ASC, following his suc¬
cessful filming of “Blackboard Jungle,”
for Metro-Goldwyn-Mayer, has been
signed by Metro to a three-year contract.
His next assignment there will be “The
Last Hunt,” now in preparation.
★
Tom Tutwiler, ASC, whose magnificent
aerial photography in Paramount’s
“Strategic Air Command” is the photo¬
graphic hit of the picture, is currently
on location in the Virgin Islands filming
sequences in color for Universal-Inter¬
national’s “Away All Boats.”
★
Max Fabian, ASC, came out of retire¬
ment last month to return to M-G-M and
shoot special photographic effects for
Metro’s science-fiction production, “For¬
bidden Planet.” George Folsey, ASC, is
director of photography on the pro¬
duction.
I *
'Joseph Brun, ASC, reports from Paris
that he is currently shooting at Paris
-Studios “Nuits de Montmartre,” a
French feature in Eastman Color and
Cinepanoramic, a new French anamor-
phic system having the same aspect ratio
as CinemaScope.
★
Norbert Brodine, ASC, has been signed
for the third successive season by Lewis-
Jor Enterprises, Inc., as director of
[photography .for the “Loretta Young
Show.” The ace cameraman and “Em¬
my” nominee has been filming the show
since its inception.
Following the re-pacting, Brodine,
accompanied with his wife, departed for
an 8-country tour of Europe in celebra¬
tion of their 30th wedding anniversary.
270
American Cinematographer
May, 1955
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FOR MAKING reverse angle shots showing race action from a driver’s
point of view, a 35mm Arriflex camera was mounted in the nose
of a speedy Maserati racing car.
CLOSER VIEW of the Arriflex camera, showing how it was mounted
in nose of the Maserati. Note the anamorphic lens which made
possible photography of racing action in CinemaScope.
Filming Auto Race Thrills For The Racers'
Authentic action dimed in CinemaScope and color
at famed European race courses by Frank Phillips.
By HERB A. LIGHTMAN
“T he Racers.” 20th Century-Fox CinemaScope pro¬
duction, is significant for the way it creates an im¬
pact almost entirely on the basis of its location photo¬
graphy. Built around the careers of daredevil European
road-racers, the film scores heavily as a thrill spectacle
chiefly because of the breathtaking camera-work in the
auto racing sequences.
Great credit is due director of photography Joe Mac¬
Donald, A.S.C., for the artful manner in which he matched
studio photography with actual racing scenes filmed
abroad — but the unsung hero of the film, photographically
speaking, is Frank Phillips who directed the photography
of the hair-raising race sequences on various European
automobile race courses. Phillips filmed these difficult
scenes not only with superb technical skill, but with a
dramatic approach that brings audiences right into the
roaring action of the picture.
This is not the first time Phillips has been called upon
to capture the excitement of auto racing for motion picture
productions. Several years ago he shot similar footage for
a Clark Gable starrer titled “To Please a Lady,” in which
his camera was mounted on a specially adapted “hot-rod”
speeding along at 107 miles per hour.
For “The Racers” assignment, which involved color film
and CinemaScope, Phillips used a Ford station wagon which
FOR HOME STRETCH shots of the cars, Phillips (right of camera) extended
the Mitchell CinemaScope camera over the track on a couple of stout boards.
Action shots were made at all the principal European race courses.
272
American Cinematographer
May, 1955
had been “souped up" to do better than a hundred miles
an hour on straightaways. This proved an unusually
smooth riding car for the purpose, and was used in filming
a major portion of the follow shots of racers.
Where shots were to be made that required traveling
at higher speds, Phillips mounted the Mitchell camera in
the open trunk compartment of a speedy Jaguar XK120,
which also had been “souped up” for racing.
For reverse angle subjective shots, showing a race from
the driver's point of view, a 35mm Arriflex camera with
CinemaScope lens was mounted in the nose of a Maserati
racing car, snugly under the hood with barely a quarter
of an inch to spare. A cable attached to the camera starter
button was run past the motor and through the cowling to
a switch next to the steering wheel. The Maserati was
driven at full-tilt by Baron Tulo de Graff enried, interna-
tionally-famous Swiss road-race champion, who switched
the camera on and off as he sped along the course. It was
necessary to stop and reload the camera every % of a lap.
Baron de Graffenried also doubled for Kirk Douglas and
other cast principals in the long shots as did John Fitch,
famous American road-racer and “test pilot” of Cunning¬
ham racing cars, who now lives in Switzerland.
For “The Racers,” Phillips shot footage of most of the
outstanding road races in Europe: the Italian Grand Prix
at Milan, the Grand Prix of Belgium at Spa, the Grand Prix
of France at Rheims, the Grand Prix of Monte Carlo, and
the Grand Prix of Europe at Nurburgring (a course that
is 23 kilometers of sheer mountains and hairpin curves) .
Each time Phillips prepared to shoot a race scene from
the camera car, he was securely tied to the car frame with
ropes. His camera was invariably mounted on a free-head
tripod, a facility which enabled him to “ride” with the
ever-changing composition. For car speeds over 100 miles
per hour he undercranked the camera at 18 frames per
second. Often, however, he worked as low as 12 frames. In
such cases, his biggest headache was getting the drivers to
avoid sudden movements and to pass each other smoothly
on the course in order to avoid a jerky picture result.
There are in the him several spectacular crises which
Phillips shot, including three spins and a couple of crack-
ups. In one sequence he had his camera mounted flat on a
dolly with tracks laid downhill. As one car spun in front
of two others, the dolly was pulled backward, so that the
car seemed to spin right over his head. Undercranked at
10 frames, this scene viewed on the screen is enough to
make one's hair stand on end.
Another thrilling sequence extremely well photographed
is that in which Kirk Douglas swerves his racer to avoid
hitting a French poodle that runs across his path. Out of
control, the car climbs a parapet and smashes to bits
against a building. For this scene, Phillips uses a zoom
lens to narrow down on the dog as he approaches it (no
small trick without a zoom finder). The speed of the camera
car combined with the added speed of the zoom lens made
the dog leap into prominence, creating a startling effect
on the screen.
In filming one tricky sequence, Phillips almost ended up
in the cameramen’s Happy Hunting Ground. He was lying
on the ground with his camera focused on a Ferrari racing
car that was bearing down upon him, but which was sup¬
posed to swerve off as it approached. As the car hit a
( Continued on Page 299)
FRANK PHILLIPS, 2nd from right, awaits signal to get his
camera into action. Here the Mitchell is mounted in trunk
compartment of a fleet Jaguar racing roadster.
CAMERA AND LIGHTING SETUP which Phillips used in photo¬
graphing most of the action on the tracks. Mitchell camera is
mounted on sturdy platform extending in front of Ford
station wagon. Landing field lights at either side supplied
fill light.
GETTING REAL CLOSE to the action is cinematographer Frank Phillips
shown here behind the Mitcholl camera. Note the wide CinemaScope
format of the camera matte box.
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JUMPER AWAY! — Intensive detailed study of jumper and chute
performances are made possible through motion pictures which
are made from camera plane, wing of which is visible at lower
right. (Official U. S. Navy photo.)
NAVY CINEMATOGRAPHER, using special dual camera setup, pho¬
tographs each jumper in slow motion. (Official U. S. Navy photo.)
Cinematography In Parachute Research
Movies in slow motion provide engineers with visual data
necessary to improving chute design and construction.
Eight miles west of the Naval Auxil¬
iary Air Station in the Imperial Val¬
ley of California, a ground control crew
from the Naval Parachute Unit passes
the word “Jumper Away” by radio to
the plane Hying overhead. This oft-re¬
peated phrase signifies to the pilot of the
plane that another parachutist has safe¬
ly left the aircraft in the process of live
jump testing a parachute.
At the same time this signal brings
the accompanying photo plane, that has
been flying “wing” on the jump plane,
into action. An alert photo pilot and
cinematographer working as a team are
providing photo coverage of all phases
of parachute behavior from the time the
jumper exits from the jump plane until
full inflation of the parachute canopy
and the beginning of normal descent.
Another camera crew on the ground
records the descent and landing of the
parachutist.
To the casual observer, the impor¬
tance of the camera crews has been
obscured by the publicity afforded the
“glamour boys,” the parachutists who
voluntarily and unhesitatingly test newly
developed parachute equipment so that
pilots and aircrews of the Services may
be provided with the finest of survival
equipment. However, it is through the
results of the daily working schedule of
the photographers of the Naval Para¬
chute Unit that the engineers and tech¬
nicians obtain the required information
on which to firm their designs and fur¬
ther their developments.
The Photographic Laboratory of the
Naval Parachute Unit has the responsi¬
bility of providing photo coverage for
the Joint Parachute Facility of the
Department of Defense. This Facility,
based at the Naval Auxiliary Air Sta¬
tion, El Centro, California is comprised
of the 6511th Parachute Test Develop¬
ment Group, United States Air Force
and the Naval Parachute Unit, United
States Navy. The photographic depart¬
ment has modern and complete facili¬
ties for the production of all photo¬
graphic requirements. Here, a crew of
approximately thirty Navy Photogra¬
phers Mates of an average age of twenty
years perform the prodigious task of
shooting, processing, titling, and editing
approximately a mile of film daily.
The relative importance of the con¬
tribution of these young men to the
overall success of parachute develop¬
ment is of great import. The cinemato¬
graphic records of all parachute descents
are the only means of studying and
analyzing what has actually occurred
from the time the test jumper pulls the
parachute ripcord until he has landed.
No visual means other than the cine
camera suffices to record for future
study and engineering analysis the ac¬
tion of the parachute system undergoing
test during initial deployment, inflation
and descent. Cinematography not only
provides a documentary record of the
test but permits careful examination of
the behavior and characteristics of the
test item through the medium of slow-
motion technique. Further scrutiny on
film assessing devices permits frame-by-
frame evaluation and time study from
time pips on the processed film.
hile the mission and tasks of the
Naval Photographic Laboratory of the
Naval Parachute Unit are to provide
broad photographic coverage including
studio and still shots, its primary re¬
sponsibility is the production and pro-
(Continued on Page 290)
American Cinematographer
May, 1955
275
SIX HUNDRED 100-ft. rolls of 16mm Commercial Kodachrome
film — just part of the film supply taken aboard for photograph¬
ing the sixth world cruise of the brigantine “Yankee.” Author-
cameraman Ray Jewell, left, is seen checking out the film supply
with Comm. Irving M. Johnson, skipper of the craft.
FILMING A
ROUND-THE-WORLD
CRUISE....
By RAY JEWELL
Photographs by Lydia Eads and Robert Johnson
Four Bells struck in the “Yankee’s” charthouse.
“Cast off bowline,” shouted the Skipper, Commander
Irving Johnson of Springfield, Massachusetts. “Take in your
springs and let go the stern line!” The amateur crew of
seventeen young men and four girls moved excitedly
around the broad deck. The precise minute had come for
this famous square-rigged sailing vessel to leave her home
SPECTACULAR JUMP — Ray Jewell photographs daring plunge
earthward of Melanesian youth from top of 75-foot tower.
Stout vines tied to youth’s ankles breaks fall just inches from
ground. Rite is said to prove courage and daring of native
youths approaching manhood.
port of Gloucester, Massachusetts, to begin her sixth round-
the-World Voyage on November 1, 1953.
After three years of preparation, which included a de¬
gree in cinematography at the University of Southern Cali¬
fornia and two months of sailing in this same ship along
the New England coast, I was ready to step aboard as the
Skipper’s cameraman to photograph in 16mm color the
adventure and thrills of eighteen months sailing to out-of-
the way places of the world. The many months of academic
work and practical experience, combined with busy plan¬
ning for equipment and stowage needs were at an end.
As thousands of friends and relatives waved and cheered
from shore, the 96-foot brigantine-rigged vessel moved
slowly away from the dock, and I began my work aboard
the press boat as it joined other small craft escorting the
big white hull down the harbor and out to sea. The photo¬
graphic record was begun as “green” hands were filmed
struggling with unfamiliar lines and sails, but “Yankee”
was soon dressed in most of her 7775 square feet of canvas,
and we were off on our first ocean passage. I boarded the
ship outside the breakwater, joining the twenty-two
strangers I would live and work with during the cruise.
It was difficult to realize that this small, independent rolling
“world” would be my photographic studio for the next 18
months.
A challenging experience in “marlinspike photography”
was underway. I soon found that I not only took pictures,
hut I serviced equipment subjected to the worst possible
conditions, mine as well as some of the nine movie and
fifty-three still cameras owned by other members of the
crew; took care of stowing exposed and unexposed him for
all ; projected returned work prints for study and slides for
occasional evening entertainment at sea ; served as mail¬
man for him going home to eager parents; and consulted
with others on their photographic problems and difficulties
so that we all might carry back the most complete record
possible. These duties were combined with eight hours a
day as a sailor — handling sail, taking an hour at the wheel,
painting, chipping, renewing worn and chafed gear in all
types of weather, anytime of day or night, on deck or
seventy-hve feet aloft in “Yankee’s” tall rigging. The Skip¬
per had decreed “anything for pictures,” so that, of course,
was my hrst duty.
The weeks preceding our departure had been crammed
with all sorts of preparations, budgeting, and consultation
with the skipper, and we found probable solutions to many
problems. I became more familiar with the ways of a sail¬
ing ship, tried out new equipment on board and faced the
biggest headache of all — that of stowage. Stowage of the
meticulously selected equipment had to be kept in mind
before purchase, for the “Yankee” is not an ocean liner.
Everything had its place and must, of necessity, be kept
there. I was afforded an unlimited amount of film and
freedom to use it in the manner I felt suitable. Choices
were made, and I settled on four alligator clamps, twelve
RFL-2 and six photoflood B-2 bulbs, along with a Quick-
set elevator tripod for interiors, and a Pro. Jr. tripod for
use with the Pan Cinor Zoomar lens.
Twenty-three of us would be living and working in a
96' x 2T x IT steel hull, and the prolonged tropical heat
and humidity would not make it seem any larger. The fore¬
peak where film and items too big for my bunk were stowed,
goes up and down in rough seas like an express elevator,
but it is here that the successful battle against mildew and
spoilage was successfully waged. I kept the exposed him,
both movie and 35mm cartridges, in airtight cans with
silica gel, thus keeping the relative humidity around 50%.
At the time of writing this we are at sea between Zan¬
zibar and Port Elizabeth. The total of commercial Koda-
chrome used thus far is 93,000 feet ; in addition, some 750
BRIGANTINE “Yankee,” homeward bound on her sixth voyage
around the world, passes before Table Mountain as her crew takes
her out of Cape Town, South Africa.
rolls of 35mm film have been exposed; and thus far there
have been no indications of instability or fungus which
often occur in the tropics. This is also true of camera lenses,
although the binoculars in the charthouse bear two of
the biggest “stars” the skipper has ever seen. Brand new
cameras on the shelves in Singapore pick them up, and 1
talked with several camera owners in New Guinea who had
considerable trouble with fungus both on lens and film. We
take no obvious precautions with cameras, except to carry
spare lenses, for all cameras are used much too frequently
to warrant bothering with airtight carrying containers.
My cameras have been given the most grueling test pos¬
sible with wonderful results. For general use, I find two
16mm Paillard Bolexes equipped with 2", and 3", wide
angle, and 1" lenses practical for nearly all of my surface
shots, using the wide angle for establishing the scene and
the 1" for medium and closeup shots.
Two 16mm Bell & Howells have proved ideal for shoot¬
ing underwater activities. The Bolexes have been drenched
(Continued on Page 296)
MANY STRANGE people and places were visited by crew of the
“Yankee.” Here a pipe of odd design is presented author Ray Jewell
by a native maiden of New Guinea surrounded by warriors in
grotesque dress — interesting subject material for Jewell’s camera.
American Cinematographer
May, 1955
o
277
DIRECTOR of photography Guy Roe, ASC, shooting Buick TV
commercials from platform of the “Giraffe." Unique hydraulic
crane provides full range of control from platform; will sup¬
port loads up to 450 pounds, any position.
When THE Pittman Manufacturing Company, Kansas
City, Mo., developed a new, low-cost hydraulic aerial
platform for industrial uses, they had no idea that
Hollywood would quickly adopt it as a means of mounting
motion picture cameras for making shots from high angles.
But studio engineers, ever alert for new and improved mo¬
bile carriers for cameras, have found the
“Giraffe” ideally suited for high-angle
photography, especially in remote loca¬
tions.
“Giraffe” is the tradename given by
the Pittman company to its new hy¬
draulic crane and platform because it
resembles in action the long flexible
neck of the giraffe. One example of the
most recent application of the Giraffe to
film production is shown in the photos
Guy Roe, ASC on this page, which picture the equip-
Something New
in Camera Cranes
How the new “Giraffe” enhanced the
filming of Buick TV commercials.
ment being used by director of photography Guy Roe,
A.S.C., in shooting TV commercials for Buick automobiles.
When contract for production of the series of commer¬
cials was given Hal Roach, Jr., one of the objectives de¬
veloped in planning the photography was to give the com¬
mercials all the production value and impact possible in the
brief time alloted the product announcements.
Inasmuch as the commercials were to feature Buick cars
in action on the road, cinematographer Roe felt that by giv¬
ing the camera comparable movement with the cars it would
greatly enhance the flow and pace of action of the cars, espe¬
cially in hill climbing scenes.
So it was that the Giraffe was chosen as the mobile cam¬
era mount for these shots. The Giraffe unit is self-contained
and operates independently of the truck or chassis on which
it is mounted. (It can also be mounted on a barge, dock,
trailer, rail car, etc.) The crane and platform may be raised
to heights up to forty feet, and may be rotated continuously
or intermittently a full 360 degrees in either direction. Thus
there is no time wasted reversing direction and making al¬
most a complete revolution just to reach a spot only a few feet
away. Rotation is accomplished by hydraulic motor which
gives instant, positive and controlled swing simply by move¬
ment of control lever. A simple, fool-proof system, based on
the parallelogram principle, keeps platform level at all times.
Foot controls on platform of the Giraffe leave the camera¬
man’s hands free at all times. Four foot pedals and a knee-
operated lever control all boom movements. The cameraman
can swing boom and move either or both boom sections up
down, backward or forward, all at the same time. A set of
dual controls are located on the Giraffe’s turntable, affording
some versatility of operation from the ground.
“I particularly liked having the controls right at hand,”
says Guy Roe. “I thus did not have to depend on another
( Continued on Page 292)
THj “GIRAFFE" is shown here with platform at two different
heights, as it was used on location in the filming of Buick TV
commercials. It was particularly adaptable in photographing
the cars coming up hills toward the camera, said Guy Roe.
“In these shots, we started shooting with the camera elevated
at maximum height, then dropped down as cars approached
and rotated camera platform to end shot on a tight, full-frame
closeup of the moving car.
278
American Cinematographer
May, 1955
EASTMAN
PROFESSIONAL
MOTION PICTURE
FILMS
W. J. GERMAN, Inc.
John Street 6040 N. Pulaski Road 6677 Santa Monica Blvd.
Fort Lee, New Jersey Chicago 30, Illinois Hollywood 38, California
“ELECTRONICAM” — DuMont’s combination TV-Film camera, records for transmission
a standard B&W television program and at same time photographs a motion picture
record of the same event. Camera employs a common lens system which feeds the
image via divided paths to both the film and TV recording units.
MAXIMUM mobility is salient feature claimed for
“Electronicam,” said to greatly expedite production
of motion pictures for all purposes. In top photo
camera dollies in on a scene which is also being
picked up by two other “Electronicams,” not
shown. Video image from each camera is fed to
mixing panel (lower photo) and “edited” as shoot¬
ing progresses.
Electronicam — Du Mont s New
Dual- recording TV-Film Camera
BLOCK diagram below outlines operation of the
complete “Electronicam” system from camera pick¬
up to transmission of video signal on the air and
production of fully edited film. Lower photo shows
switching unit through which “Electronicams” may
be controlled singly or in gangs.
< ' P lectronicam” is the tradename
L of the newest dual-purpose video¬
film camera unit for the simultane¬
ous motion picture and electronic re¬
cording of a scene or image. Developed
by Allen B. Du Mont Laboratories, Inc.,
“Electronicam" was given initial public
demonstration April 14th in New York.*
The “Electronicam’'’ system operates in
the following manner: An image-orthi-
can television camera head and a film
camera are mounted side-by-side on the
same base and operate with a common
lens system. The base is mounted con¬
ventionally on a tripod or dolly. Except
for the common optical system, both
units are independent and have their in¬
dividual power supplies which function
simultaneously.
*A camera of similar purpose developed by
A1 Simon, Hollywood TV film producer, wa:
previewed on the West Coast last February,
and was subsequently described in the March,
1955, issue of American Cinematographer. —
Editor.
The optics of the “Electronican” sys¬
tem are designed so that a portion of the
light passing through the common lens is
split up into two parts — one going to the
film and one to the image-orthicon pick¬
up tube of the television camera.
The system operates with either of two
basic pickup units. One of these is de¬
signed primarily for the making of mo¬
tion picture films, utilizing the television
system as the control and editing means.
This unit operates on the principle of a
time-shared light path. While the film
pull-down is moving a new frame of film
into position in the film camera, a shut¬
ter interrupts the light path. During this
interruption, the image is reflected from
the front surface of the shutter into the
optical path of the image-orthicon tube
in the television camera.
If the studio lighting and film sensi¬
tivity requirements are satisfied, the
50% light duty cycle to the television
camera provides automatically an ade-
( Continued on Page 290)
280 • American Cinematographer • May, 1955
Photographing The
1955 Mobilgas
Economy Run
AS filming assignments go, there is always something
new under the sun for Hollywood’s directors of photog¬
raphy. Not all the unique assignments originate in the
major studios. Take the recent Mobilgas Economy Run.
Fourteen motion picture cameramen covered this event for
as many sponsors. Of these, perhaps the most illustrious is
Elmer Dyer, A.S.C., who was assigned the task of photo¬
graphing the event in both color and black-and-white for the
sponsors of the event. General Petroleum Corporation.
The 1955 “run” was from Los Angeles to Colorado
Springs, Colorado — a total distance of 1,323 miles over
desert and mountainous terrain and in all sorts of weather.
Participating were 24 contesting cars plus some 18 or 20
cars carrying AAA officials, sponsor representatives, photog¬
raphers, referees, service crews, etc.
Cameraman Dyer’s equipment for this assignment con¬
sisted of two station wagons with camera platforms on top;
two Eyemo 35mm cameras; a standard Bell & Howell
35mm camera; and a Bell & Howell 70-DA which was used
for covering the event in 16mm color. Black-and-white film
was used in all 35mm cameras.
“I thought it would be a simple assignment,” said Dyer,
“but it started out like the proverbial ‘rat race’. I had to
get complete coverage of the start of the event, then pack
up my equipment and speed ahead of the cars in order to
catch them arriving at the first control station, which was at
Yuma, Arizona.
“The cars traveled an average of 40 to 43 miles per hour.
There were four persons in each entry-car — the driver and
three observers or AAA officials. The latter’s function was
to see that the driver followed all rules and regulations. In
order to keep ahead of the cars, I had to drive an average
of 80 or 90 miles per hour.
“While the drivers of the competing cars got eight hours
sleep at each control station,” Dyer continued, “my operator
Roland Price and I went the first twenty hours without any
sleep whatever.”
For shots of the start of the race, which began at ap¬
proximately midnight March 14th, Roland Reed Produc¬
tions had provided a mobile power generator and a battery
of studio arc lamps to light the area in front of the General
Petroleum Garage in downtown Los Angeles, the starting
point of the “run.” For this coverage, Dyer employed Tri-X
film — the only time it was used on the assignment. “All the
rest of the time we used Plus-X,” said Dyer. “The coverage
in 16mm color was a sort of extra-curricular job. In all we
( Continued on Page 292)
TOP PHOTO (1) — Cameraman Elmer Dyer, A.S.C., moves a
tree branch to obtain unhampered view of the oncoming cars.
Camera operator Roland Price stands ready behind the tri-
lensed Eyemo camera. 2 — Typical shot of Economy Run cars
on steep, snow-covered grade near Colorado Springs. 3 —
Flagging down the winners at the finish. Shot made from top
of Dyer’s camera car. 4 — Dyer, using the 70-DA, covers the
action in 16mm color while operator Price handles the Eyemo
on the tripod for 35mm black-and-white coverage.
American Cinematographer
May, 1955
281
CLOSEUP from a film on lettering.
With a minimum of equipment but a wealth
of enthusiasm, Indiana U’s film unit
produces educational films that
ease the teaching task for teachers.
This College Campus Film Crew Makes Training Films
IN recent years educational film pro¬
duction has grown to an extent un¬
thought of a decade ago. On many
college campuses today crews are in¬
volved in the planning, scripting, shoot¬
ing, and editing of films, the primary
purpose of which is education.
Let’s take a look at one of these films
made by Indiana University’s film unit,
a department of the Audio-Visual Cen¬
ter. In the past few years this group has
produced films on such subjects as ce¬
ramics, Japanese art. marching bands
and safety. The films have ranged from
seven-minute television shorts to a 3'0-
minute color presentation of the State
Legislature in action. Current produc¬
tion centers around six films on square
dancing, a science series on reproduction
of plants and animals, and a teaching
materials series designed to help teach¬
ers make more effective teaching aids.
What goes into making one of these
educational film productions? What
steps are followed from the selection of a
topic to the release of a finished film?
The latest film on our production sched¬
ule is part of the teaching materials se¬
ries, E. P. 73, entitled “Lettering In¬
structional Materials.”
Although E. P. 73 became an entity
well over a year ago, concentrated effort
toward production was not begun until
spring of last year. Early planning con¬
ferences determined physical specifica¬
tions, intended audiences, and purposes
for the film. It was to be a 20-minute
sound-and-eolor film directed toward
teachers and others interested in the
preparation of teaching materials. Its
purpose was to stimulate interest in mak¬
ing better visual aids by using improved
By DENNIS W. PETT
Motion Picture Department , Indiana University
lettering. Experts on the use of lettering
were assigned as educational authors.
The writer-director in cooperation with
these experts determined the content that
would best achieve the purposes of the
film. A content outline was prepared list¬
ing in detail the facts that were to be
covered. This outline was carefully
checked with potential users and curricu¬
lum experts from the university faculty.
This was only the first of many meetings
that would be held to insure optimum
educational value. The content outline
served as a guide for writing a narrative
treatment, which provides a framework
within which the content can be devel¬
oped into a motion picture script.
The first step in scripting E. P. 73
was the preparation of a story board, a
series of still pictures representing each
scene of the film. The story board illus¬
trations for “Lettering” were made with
a Polaroid-Land camera. Each sequence
described in the narrative treatment was
set up in the studio and a series of pic¬
tures taken from the viewpoints that best
told the intended story. The Polaroid
(Continued on Page 294)
CAMERA CREW of Indiana University’s motion picture unit maneuvers the dolly-mounted
Cine-Special camera for a zoom shot of a demonstration in lettering technique; shot ends
in a doseup of the demonstrated art work.
282
American Cinematographer
May, 1955
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Defining Optical
Definitions
Some terms in optics explained tersely for
the non-technical photographer.
By JOHN ARNOLD, A.S.C.
Head of the Camera Dept., M-G-M Studio
The Advent of the various wide-screen processes with
their attendant changes in camera optics have reintro¬
duced in many cases problems of resolution, depth of field,
etc. While these are still puzzling terms to the average lay¬
man, they often are not fully understood even by some ex¬
perienced cameramen.
The definitions and descriptions of such terms as “reso¬
lution” and “circle of confusion” are to be found in most
technical volumes dealing with photography. Very often
these books are not immediately available for reference
LENS
COMPARATIVE DEPTH OF FIELD
LENSES AT F-//
FIG. 1 — Comparative depth of field of a 28mm and a 50mm
lens operating at an aperture of f / 11.
when the need occurs. This suggests that condensed defini¬
tions of these important terms, memorized for ready refer¬
ence, can prove beneficial to any technician dealing with
cinematgoraphy.
It is with this thought in mind that the following terse,
semi-technical descriptions are presented here:
Depth of Field — The distance between the closest and
the farthest points in a scene being photographed, which
are considered sharp or in focus, is known as the depth
of field — a term, incidentally often confused with “depth
of focus.” Obviously, only one plane — that on which we
actually focus — can be considered as in true focus, but
we must also establish a certain standard by which it is
considered how far “off” this sharpest image can be and
still be called “sharp.”
Here it must be borne in mind that the depth of field
increases as 1) the subject distance increases, 2) the aper¬
ture of the lens decreases, or 3) the focal length of the
lens decreases.
To illustrate, the compartive depth of field of a 28 mm
and a 50 mm lens operating at f/11 is shown in Fig. 1.
Circles of Confusion — This is perhaps one of the most
difficult terms in optics to explain in simple language. When
a lens is focused on a single pinpoint, that point registers
as a sharp point. In actual practice, however, it is a small,
sharply defined disc.
In front and in back of this point there appears, rather
hazy, larger discs of light which makes the “point” some¬
what fuzzy in appearance. (See Fig. 2). This degree of
fuzziness is known as “Circles of Confusion.” The smaller
the discs appear (the closer to an actual pinpoint), the
smaller the circles of confusion.
There exists no exact measure as to what degree is ac¬
ceptable, but this is a relative term used to compare optical
correction and to measure depth of field. It goes hand-in-
hand with resolving power in this respect.
Resolution — The term “resolution,” more correctly termed
“resolving power,” means the ability of a lens to define
images close to each other — sharply and distinct. This
means that a lens with a resolving power of 500 lines per
inch will be able to reproduce sharply a drawing of 500
parallel lines, each spaced an inch apart.
Getting back, for a moment, to depth of field, we know
that the human eye cannot separate details which are in
print closer than l/100th of an inch apart (in a normal
viewing distance of ten inches) . Therefore, we consider
the “acceptable sharpness” in our field every line (of the
aforementioned 500) which is perceptibly sharp and dis¬
tinct from another line l/100th of an inch or more distant.
Of course, to achieve this degree of sharpness in a print
that is enlarged, let us say, seven diameters (or seven
FIG. 2 — The term “circles of confusion’’ is less confusing when
illustrated in the manner above. Rays of light projecting from
point sources either nearer to or farther from the lens than the
point focused upon cannot render a point image, but instead
result in a circular image made by a cross-section of the cone
of light rays, as shown above.
times) we must have a lens which has a resolution of at
least 700 lines to the inch. Obviously, therefore, we must
think in terms of the normal amount of enlargement the
lens image on the negative will undergo in order to de¬
termine an acceptable resolving power. end.
American Cinematographer
May, 1955
285
Amateur
CINEMATOGRAPHY
THE AUTHOR, shooting an ultra-doseup
of a katydid perched on a flower fixed
on the special rotatable stage. In back
of flower is backdrop of cardboard paint¬
ed blue.
T
THE CLOSEUP obtained by author using
the setup described above for his 16mm
color film, “The World Around Us.”
Small Subjects, Big Closeups
By LEO CALOIA
One Saturday afternoon, last sum¬
mer, I went into our flower gar¬
den with my camera to begin filming
in ultra-closeups a movie on insects
which I had long planned. The denizens
of garden and flower bed were to be my
actors in a little drama which was to pro¬
vide them with rare and unusual thes-
pian opportunities. But no matter how
patient I was and the measures of ex¬
pediency I employed, I couldn’t get my
tiny subjects to stay in one position long
enough to get them in focus! It was very
disappointing, indeed.
Not to be outwitted by these varmints
of the garden who so readily showed
indifference to this big chance for a
movie career, I set about to cope with
their cunning. It took me all summer,
but it resulted in a film presentation in
500 feet of color with my insects friends
performing like trained actors in natural
garden settings.
The first thing I did was build a small
stage on which to place my “actors” for
their performances. It was made to raise
or lower as desired, and could be rotated
a full 360 degrees. Holes drilled in the
stage base provided for holding a flower
pot or stems of plants and flowers. At
the back a cardboard panel, painted
blue to resemble the sky, was mounted.
This provided the necessary backdrop
for ultra-closeup shots.
After several experiments, I found
that sunlight was the best light for
(Continued, on Page 301 )
CLOSEUPS of three denizens of the garden which required special the stage to great height for the lizard; honey applied to feet
treatment to keep them centered before the camera lens: elevating of the bee; and securing legs of grasshopper with scotch tape.
286
American Cinematographer
May, 1955
Put summer-day brilliance into your movies
by shooting with Ansco Hypan Film
Why does everything look more beau¬
tiful on a sunny day ? It’s because the
brilliant light puts sparkle into the wa¬
ter, makes every blade of grass stand
out sharp and clear, creates intriguing
texture patterns in rocks and trees.
That same principle makes your
black-and-white movies on Ansco Hy¬
pan Film look better, too. Hypan
yields extremely fine-grain images with
inherently brilliant gradation. Details
are sharper, and there’s more snap and
sparkle in every scene. Hypan movies
truly delight the eye.
But there’s another important reason
why Hypan will help you make better
motion pictures. It has high speed
(Exposure Indexes of 40 daylight, 32
tungsten) that permits all around
movie-making, indoors as well as out¬
side!
Hypan costs less, too, and that means
you can take more fine movies on your
film budget.
Get set for clearer, brighter movies
by loading your camera with Ansco
Hypan Film now. Leading dealers have
it for 8 and 16mm cameras.
Ansco
Binghamton. N. Y. A Division of General Aniline &: Film Corporation. “From Research to Reality.”
Want softer,
| more natural
color movies?
Ask for
Ansco
I Color Film
In 8 and 16mm magazines
| and 16mm rolls
I _
Amateur
CINEMATOGRAPHY
TECHNIQUE described by author is illustrated above. First scene of of spotlights (center). Last half of latter was gradually tinted with
a ballet dance filmed in black-and-white is joined with color shots red dye to harmonize with first scene in color sequence. Low key
of circus acts (right) by use of tinted black-and-white transition shot scenes and titles make best transition shots.
Combining Black-and-white With Color
If you use fast black-and-white film for interiors you can
intercut it with exterior shots made in color, following this
simple method which assures smooth transitions between the two.
By ERNST WILDI
You’ve been asked to film the wed¬
ding day of a friend or relative.
It’s a beautiful day — you load the
camera with color film — shoot scenes of
the hustle and bustle of preparation at
the bride’s home, the colorfully dressed
bridesmaids, flowers, etc., and then move
on to the church in time to catch the
radiant bride and her party about to
enter the church. With the highlight of
the day about to begin, you realize the
light inside the church is far too weak
for properly exposed color scenes. What
to do? Should you completely omit
scenes of the ceremony or shoot in black-
and-white? Should you edit the footage
into separate reels, one of color and the
other of black-and-white, or should you
combine the two?
You may be faced with the same deci¬
sion when editing material obtained over
a period of years pertaining to the
growth of your children. Some footage
may have been taken years before color
film became popular. Should this be
combined with the more recent color
footage or left on a separate reel? While
on vacation, you may have obtained in¬
teresting black-and-white shots in
museums, aquariums, historic buildings
or nightclubs . . . scenes which could
not have been taken with the slower
color film.
The cine filmer is invariably advised
never to combine black-and-white film
with color because the sudden switch on
the screen from one to the other is some¬
what disturbing. While this article is not
meant to encourage this practice, on
occasion when one is faced with either
shooting in black-and-white or passing
up valuable material, integrating the two
types of film can be done very effectively
and it will provide a refreshing change
for 8mm and 16mm movies.
If it makes no difference from the
standpoint of continuity, it is better to
have the black-and-white shots on the
first part of the reel. However, if con¬
tinuity is adversely affected by this, the
black-and-white sequences may be in¬
serted in the middle or at the end of the
color footage. Here, two methods of in-
(Continued on Page 293 )
FILM is readily tinted by dipping it gradually
into easily prepared dye which colors the film
base only.
288
American Cinematographer
May, 1955
Alive as a heartbeat!
Scene from " A Man Called Peter,"* 20th Century-Fox CinemaScope Production .
BALTAR
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.
ORDER from your
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WRITE to Bausch & Lomb
Optical Co., 30041 Martin St.,
Rochester 2, N. Y.
for list of authorized dealers.
* Filmed with B&L 40mm Bailor CinemaScope Lenses —
cine and anamorphic lens elements in a synchronized
focusing mount, with only one focusing adjustment.
from the complete line of
Bausch & Lomb Baltar Lenses . . . the
professional standard.
America's only complete optical source . . . from glass to finished product.
PRODUCTION EQUIPMENT
CAMERAS
ARRIFLEX 16mm Comeras in stock
ARRIFLEX 35mm sound blimps in stock.
CINE-SPECIAL I, black, 100' chamber,
15mm, 25mm lenses, excellent . .$425.00
FILMO model A, 1 " f3.5 lens . 59.95
FILMO model DA, 2" lens, auto¬
parallax finder, case . 325.00
EYEMO model K, 2" lens . 295.00
FILMSTRIP CAMERAS
Pathe 35mm, 400’ mags, single
frame shaft, very fine . 150.00
Erneman 35mm, 400' mags, excel¬
lent condition . 125.00
Universal 35mm, 200' mags, very
fine condition . 125.00
LIGHTING EQUIPMENT
COLORTRAN Jr. Kit, new, previous
model, list $189.75, special . 145.00
COLORTRAN SPOT Kit, previous
model, new, special . 195.00
Current model, list . 291.00
Fluorescent lighting units, ideal for
fiat or fill light, takes six 20 watt
tubes, new, govt, surplus, original
cost $150.00 each, only 12 left,
reduced to . $25.00 each
DIMMERS, from 2000 tol650 watts,
new, list $108.00, special . $81.00
DIMMERS, from 1000 to 750 watts,
new, list $73.00, special . $58.00
PROJECTION EQUIPMENT
BODDE 4x5 background screen
projector, new, list $1450.00,
complete with 9x12 screen,
frame, stand, special . $1,275.00
B&H FILMOSOUND, 12" speaker,
L.N . 425.00
8x10 Portable screen with case
and stand . 100.00
Pair DEVRY 35mm sound pro¬
jectors, magazines, amplifier,
speaker, completely rebuilt.
Specially offered at . 850.00
EDITING EQUIPMENT
MOVIOLA 35mm Preview, large
8x10 composite picture and
sound, separate 35mm sound,
completely reconditioned . $1,650.00
MOVIOLA, 16mm composite pic¬
ture & sound, 16mm separate
sound, green model, excellent
condition, one only . $1,550.00
MOVIOLA 16mm silent picture
heads . 245.00
MOVIOLA 35mm optical readers,
exc . 79.50
MICRO 2/35mm synchronizer, like
new . 75.00
STOP WATCH for editing, 16mm-
35mm . 13.95
B&H Exchange model 35mm splicer 725.00
SYNCHRO Reader attaches directly
to your synchronizer for mag¬
netic sound film. . 99.50
MISCELLANEOUS
Camart Scout tripods, demonstra¬
tors . $ 69.50
Duplex 35-1 6mm reduction pri ter 495.00
Telescoping mike boom to 19 feet 695.00
Watson 35mm developing system 89.50
Berndt-Maurer 1 6mm recording
system complete and in first
class operating condition $2,150.00
Pair 35mm sound dubbers, sync
motors, pedestals, 2000’ mags,
excellent co-dition . $1,650 00
THE CAMERA MART, INC.
1845 BROADWAY at 60th STREET
NEW YORK 23, NEW YORK
Phone and cable
CINEMATOGRAPHY IN PARACHUTE RESEARCH
(Continued from Page 275)
cessing of cine film for engineering
analyses. Therefore, the role of the
Naval Cinematographer is of paramount
importance.
The bluejackets who comprise the
photographic crews of the Naval Para¬
chute Unit received their basic training
at the Naval School of Photography in
Pensacola, Florida. Their further and
advanced training is obtained through
an “in service” program while on duty
at the Naval Parachute Unit. Through
on-the-job training under expert super¬
vision, these neophytes are taught all
phases of photography. By a merit sys¬
tem of grading, individuals are selected
for various assignments in the Labora¬
tory. Only those who prove themselves
to be particularly skilled, possessed of
initiative, and emotionally adaptable are
assigned to the exacting work of aerial
cinematography.
Since test data must be obtained in
most instances without failure due to the
inability to reproduce exact test condi¬
tions, the naval cinematographer and
his equipment must be dependable. To
augment the capabilities of the trained
individual, the Naval Parachute Unit
uses and maintains modern and efficient
processing equipment. It also employs
a staff of technicians for the mainten¬
ance and repair of all camera and lab¬
oratory equipment. Due to the special
requirements of parachute photography,
these technicians also design, develop
and construct conversions for standard
cine cameras to suit the particular needs
of the tests being conducted.
It is only through the media of cine¬
matography that quick, concise, positive
and informative data can be quickly
and easily presented to the parachute
research engineer for study and an¬
alysis. Without the valuable contribu¬
tion of the cameraman there would be
no definite meaning to “Jumper Away!”
‘ELECTRONICAM’— TV-FILM CAMERA
( Continued on Page 280)
quate signal for monitoring and studio
direction purposes. There is no problem
in changing from monochrome to color
film operation, according to DuMont en¬
gineers. The excellent sensitivity of the
image-orthicon camera, they point out,
permits the use of all conventional pho¬
tographic emulsions in black-and-white
or color with practical amounts of studio
lighting.
The other version of the “Electroni-
cam” system pickup unit is suited to the
requirements of the TV broadcaster, pro¬
viding a direct film recording while a
high quality studio television signal is
simultaneously broadcast. This unit op¬
erates on the principle of a shared opti¬
cal system where a major percentage of
the light passing through the common
optics is transmitted to the film camera
and a minor portion is reflected to the
image-orthicon tube in the television
camera. The sharing ratio of the light
between the two optical paths is deter¬
mined by the film sensitivity, the image-
orthicon sensitivity, and the studio light¬
ing. These principles are common to
both black-and-white and color opera¬
tions.
DuMont employs image-orthicon cam¬
eras in its “Electronicam” system be¬
cause, as they point out, “the superior
performance and versatility of the 1-0
tube permits a much wider variety of
shots and effects than the less sensitive
camera such as the vidicon.”
Another advantage in the use of the
high-definition signal delivered by the
image-orthicon camera is the fact that
the 1-0 matches the existing control
units, standard television switching con¬
trol equipment and matting amplifiers.
This, according to DuMont engineers,
makes it possible to record an “editing
master film guide (The equivalent of a
work print. — Ed.) at the same time that
the high-definition film is being shot.
This editing master is recorded (Actual¬
ly kinescoped — Ed.) complete with all
wipes, lap-dissolves, fades, super-imposi¬
tions and other special effects normally
processed optically in the motion picture
industry — the effects being produced
electronically at the mixing panel. This
guide is later used as an aid in putting
together the final high-definition film
version produced by the film camera
component of the system.
The entire “Electronican” unit is op¬
erated in exactly the same manner as a
standard television camera. The focusing
control handle, located on the back of
the TV camera in the panhandle, has
been modified so that it controls the fo¬
cus of the common lens system. It per¬
mits continuous control of focusing
o
throughout the shooting sequence. Thus,
the advantages of TV “ad lib” focusing
and camera direction are made available
to the motion picture cameraman or di¬
rector. Since both the TV and film cam¬
eras receive light through the same lens
290
American Cinematocrapher
May. 1955
BORIS KAUFMAN
Academu Arnold lAmnesi
for excellence in black-and-white
cinematography in
On The Waterfront.
Those of us who have long been familiar with
his outstanding artistry are proud — but not surprised
— that Boris won the Oscar.
It is a matter of deep satisfaction to us that all
the Mitchell cameras and accessories Boris
used to create his epic on the Hoboken docks —
were rented from Camera Equipment Company.
FRANK C. ZUCKER
(Jnm€RR €ouipm€nT (o.
1 600 Broadway • New York City
system, the image sent to both cameras
is in focus. The camera operator deter¬
mines the focus by looking at the image
in the “Electronican’s” electronic view¬
finder inset in the back of the camera.
DuMont engineers emphasize that tre¬
mendous savings in motion picture pro¬
duction as well as increased quality of
product are a possibility because of the
instantaneous monitoring of the motion
picture cameras afforded by the TV
monitors and the electronic viewfinders
of the “Electronicam” system. Set-up
time can be cut way down, and much of
the editing of productions can be done
as shooting takes place, just as live TV
shows now are “edited” during the proc¬
ess of being picked up and put on the
air.
Perhaps the important time-and-
money-saving feature of the system for
the TV film producer is the “editing
master” film, mentioned earlier. This
film represents a print of all the “takes’
chosen by the director during shooting,
and it is complete with all the wipes,
dissolves, fades, scene shifts, and other
effects which were ordered by the direc¬
tor, executed by the engineers, and
which appeared on the monitor as the
show was recorded. With this “editing
master,” it is claimed, final editing of
the complete film production can be ac-
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American Cinematographer
May, 1955
291
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complished in a matter of hours, instead
of days or weeks.
“Electronicams” are to be made avail¬
able in two models — one for 35mm and
one for 16mm films. The 16mm model,
which was demonstrated, is capable of
loading up to 1200 feet of monochrome
or color film — sufficient for recording a
thirty-minute program.
The motion picture segment of the
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switching position, which also contains
the individual motor controls for each
unit and the gang control that makes
possible the simultaneous start of all
cameras.
During the early stages of testing the
new “Electronicam” system, a series of
motion picture films were successfully
shot under stark and unrehearsed condi¬
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were totally unfamiliar with the equip¬
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the test runs. They were given ad-lib di¬
rection by intercom for camera move¬
ment, turret changes, and focus adjust¬
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The continuous follow-focus feature of
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SOMETHING NEW IN CAMERA CRANES
(Continued from Page 278 )
person to operate the boom, and I avoid¬
ed the delays that otherwise are invari¬
ably encountered when it is necessary to
relay directions to a second party.”
Roe pointed to the advantage of the
Giraffe over the conventional camera
parallel. “You build your parallel, then
after you get your camera equipment set
up on the top, you may find that it
should be a few feet to the left or to the
right — which means you have to take
down your camera and wait for your
crew to relocate the parallel and replace
the camera. With your camera mounted
on the Giraffe, you simply press a lever
and swing the platform instantly to the
desired position.”
Roe photographed over 1000-feet of
him from the Giraffe on this assignment
— about 25 separate setups in all — show¬
ing the cars in action on grades to dem¬
onstrate Buick’s renowned nimbleness on
hills.
“Elere the Giraffe was particularly
useful in enabling us to inject a pictorial
impact into shots showing the Buicks in
action on the road,” said Roe. “As the
acompanying three photographs show,
the camera was operated from a wide
range of heights. In a shot of a Buick
coming up a hill, for example, we would
begin it with the camera elevated to
maximum position. Then as the car ap¬
proached, I lowered the boom and at the
same time rotated it as required to cli¬
max the shot in a screen-filling closeup
of the moving car.”
More intimate closeups showing the
fine interior appointments of the various
Buick models were completed on the
sound stage at Hal Roach Studios in
Culver City. (See cover photo — Ed.)
PHOTOGRAPHING THE MOBILGAS ECONOMY RUN
( Continued from Page 281 )
shot 5,000 feet of black-and-white film,
and a thousand feet of 16mm color him.
“My instructions were to cover as
many of the cars in action on the ‘run’
as possible, to show their performance
on grades, in the desert, in snowstorms,
etc. A major objective was always to
frame the cars against picturesque scenic
backdrops — to take full advantage of
scenic spots as they were encountered.
Naturally, this made it imperative to
keep ahead of the cars as much as pos¬
sible in order to have time to scout the
best locations for camera setups along
the route.
“Besides the strictly action shots of
the cars, I covered the drivers, the offi¬
cials, etc., along the route and at the
various control stations to round out the
picture story.”
Dyer varied his shots as often as pos¬
sible-panning, following, pulling away,
etc., a matter that required a lot of im¬
agination, planning, and quick thinking.
Some thirty hours after the cars left
Los Angeles, the leaders began to arrive
in Colorado Springs. It was mid-after-
noon on March 16. Shooting the presen¬
tation of trophies to the various drivers
in front of the Broadmoor Hotel was the
windup. “It was bitter cold,” said Dyer,
"but all my cameras worked perfectly.
Luckily, they had been ‘winterized’ in
advance in anticipation of this cold
weather encounter.” cNn
292
American Cinematographer
May, 1955
COMBINING BLACK-AND-
WHITE WITH COLOR
(Continued from Page 288 )
tegration may be employed, and the aim,
of course, should be to avoid abrupt
transitions from black-and-white to color.
The simplest way is to insert a slow
fade-out and fade-in or a slow wipe. The
fade or wipe should cover a period of
at least 6 seconds from beginning to
end. These transitions can be made
even after the him has been developed
with fotofading dyes (sold in photo¬
graphic stores).
An even better solution is what I call
“intercut tinting.” I have used this
method in an 8mm him of a city’s at¬
tractions containing a sequence which
ran as follows and illustrated in the
photos on page 288.
1. ) Black and white shots of a ballet.
2. ) The moving beam of a spotlight —
gradually changing from white to
red.
3. ) Circus scenes in color.
The spotlight scene was obtained by
filming lights radiating from the lighting
booth located near the roof of an arena
— using regular black-and-white him.
After the him was developed, it was
gradually tinted red so that the begin-
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American Cinematographer
May, 1955
293
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ning of the scene, spliced onto the hlack-
and-white footage remained uncolored
while the rest gradually developed a nice
red tone — leading nicely into the color
sequence of the circus. In the finished
him, the change is very natural — ap¬
pearing as if the lighting electrician had
inserted a red filter before the spotlight.
The same method could be used in re¬
verse — starting in color and gradually
fading to black and white.
The procedure for tinting is simple.
First soak the him in water for 10
minutes. Then gradually dip it into an
approximately 1% solution of an acid
dye dissolved in water to which a few
drops of acetic acid has been added. The
dye is completely dissolved in a small
amount of hot water. Add cold water
to the proper volume and cool to about
68°F. Concentration of the solution is
not critical — a stronger solution merely
shortens the tinting time. Maximum
tinting is obtained in about 1 minute.
Gradual tinting is obtained by gently
dipping the him into the solution, as
illustrated. The him is then washed,
quickly dried and spliced into the him.
Satisfactory dyes include the following
manufactured by DuPont:
Pontaeyl Rubine R or Eosin G for
red.
Tartrazine for yellow.
Anthraquinone Blue BN for blue.
By mixing two or more dyes, almost
any color can be obtained — blue and
yellow resulting in green, etc. Since
these dyes color the base of the him,
tinting is limited to the light areas of
the him (example, the spotlight against
a dark background). Regular toners
should not be used because they color
the emulsion — that is the black and grav
areas.
Choose a color appropriate to the sub¬
ject matter, and for more effective re¬
sults, a scene containing only black and
white areas — no intermediate gray tones.
The spotlight beam, as described before,
is excellent for this purpose; also a neon
sign against a black background. If
such scenes are either unavailable or in¬
appropriate for your him material, you
can always solve the problem through
the use of titles. The best titles for this
purpose are made by placing white
letters on black velvet.
Back to the subject of the wedding
him: a title can be used most effectively
to bridge the transition from black-and-
white footage to that in color — the last
half of the title, of course, being ap¬
propriately tinted to harmonize with the
hrst scene in the color sequence to which
it will be joined.
Or if the opportunity presents itself,
you can make the hnal shot of the black-
and-white sequence of church interiors
serve as the transition shot to color. This
would be a shot of sunlight streaming
through a stained glass window. Tint
this, following procedure described
above, and intercut it between the
black-and-white interiors and the se¬
quence of color shots which you’ll
probably make of the couple and the
wedding guests outside the church fol¬
lowing the ceremony.
You need have no doubts about the
effectiveness of this black-and-white-to-
color transition idea. You can test it
easily by applying it to old films in your
home movie library, your “stock shots”
collection, or that box of discarded foot¬
age which you may have been saving.
COLLEGE CREW MAKES TRAINING FILMS
(Continued from Page 282)
camera was particularly useful because
it facilitated making revisions on the
spot; with this camera there is not the
usual delay involved in processing film
or making prints. If one of the pictures
didn't tell its part of the story ade¬
quately, new shots were made until the
sequence was visually satisfactory.
These pictures were mounted on a
large card for easy viewing and once
again teachers and curriculum experts
were called in to make suggestions on
the organization of the content. After
revising and shooting a few more pic¬
tures the story board was approved.
Using the story board as a guide a vis¬
ual script was written and a rough nar¬
ration prepared giving the facts that
would appear on the completed sound
track. The entire process of scripting
was a cooperative one. By working close¬
ly with the educational advisors, each
step was checked carefully to insure ac¬
curacy of details.
As the scripting neared completion
many problems relative to shooting were
raised. The use of color was carefully
planned to insure its greatest possible
contribution to the film. A basic color
scheme was selected for each of the six
types of lettering included in the film.
Color planning included backgrounds,
clothing, and the materials which were
to be lettered, as well as the lettering
equipment, paints, inks, etc. Paints and
colored poster boards were tested using
Commercial Kodachrome having the
same emulsion number that would be
used throughout the shooting.
Titles were selected and designed to
294
American Cinematographer
May, 1955
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enhance the film's effectiveness. Posters,
charts, and maps were made; six or
seven of each were needed to allow for
overlap of action, duplicate takes, and
the inevitable bad takes. Finally a
shooting schedule was prepared, actors
were selected, and shooting was under¬
way. For the next few weeks there was
plenty of activity in the former printing
plant that now serves as a studio. Equip¬
ment used included a Cine Kodak-Spe¬
cial on a sturdy studio tripod, five thou¬
sand watt spotlight, several 750-watt
spotlights, half a dozen 1000-watt spot¬
lights and several clip-on units.
Lighting was planned carefully to as¬
sure consistent results. A 5000-watt spot
was used as a key light for most of the
scenes and six diffused 1000-watt floods
served as fill light. Small spotlights were
used as needed for additional back¬
ground light and for accenting impor¬
tant aspects of the subject. During all the
studio shooting incident readings of the
key and fill lights were taken before
each scene was shot. All scenes were lit
with a 1:1 ratio and exposure was about
f 2.8 on Commercial Kodachrome. A few
scenes, extreme closeups that required
greater depth of field than could be ob¬
tained at f 2.8, were more strongly lit
and shooting was done at 16 f.p.s. at f 8.
A few special lighting problems were
encountered that added interest to the
shooting. One scene was a closeup of an
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American Cinematographer
May, 1955
295
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DESIGNERS AND MANUFACTURERS OF
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enlarging easel as a sheet of high con¬
trast film was inserted, the timer button
pushed and an exposure made. It was
necessary to create the illusion of a
room softly lit with red light yet the im¬
age had to be white during the exposure.
Red cellophane filters were used in front
of each of the lights. The enlarger was
plugged into a transformer boosting the
output of its light source so it gave a
satisfactory exposure at f 2.8.
Still another lighting problem was met
in a scene showing a teacher using an
overhead projector in front of a class¬
room. It was important that the pro¬
jected image balance with the light on
the subject. The teacher was lit to simu¬
late conditions in an average classroom
and an exposure made at the necessary
24-frames per second. During this expo¬
sure the projection screen was covered
with black velvet. The film was rewound
and a second exposure was made with
the velvet removed and all the lights
turned out except the projector lamp.
The second exposure was made at eight
frames per second to provide an expos¬
ure balance with the live action.
Summary scenes for each type of let¬
tering show sample stencils, rubber
stamps, and various kinds of lettering
guides. These are immediately followed
by pop-on examples of the kind of let¬
tering made by each method. To avoid
the usual slight jump at splices these
scenes were all single-framed and the
examples pop-on smoothly. Studio work
was followed by a few location shots that
completed the shooting of E. P. 73.
A few days after shooting was com¬
pleted the original color film was re¬
turned from the laboratory. It was care¬
fully checked for color and exposure
consistency and sent to the lab for a
black-and-white edge numbered work-
print for use in editing.
Receipt of a workprint is technically
the beginning of the editing process.
However, editing often depends on other
factors determined during earlier stages
of production. Smooth cutting depends
on matched action and positioning of
elements within the frame. Careful direc¬
tion and camera work contribute greatly
to the editing process. The continuity of
an instructional film such as “Lettering”
is largely determined in scripting and
shooting. Editing is a process of pacing
the film within the established frame¬
work.
The narration was written after edit¬
ing was completed and the film shown
to the educational authors and other
A.V.C. staff members. Following the sug¬
gestions offered by some of these people
a few minor changes were made. “Let¬
tering” is at this point now. Finally,
after carefully checking the narration
for factual and grammatical correctness
a narrator and background music will
be selected.
Narration will be recorded on 16mm
magnetic tape. This tape plus the work
print will then be sent to the laboratory.
The original will be conformed to the
work print and an answer print made.
Then we will see “Lettering” in color for
the first time. After months of coopera¬
tive effort between staff and educational
authors E. P. 73 will become a reality.
FILMING A ’ROUND-THE-WORLD CRUISE
(Continued from Page 277)
in downpours to capture the action of
the ship and crew in sharp rain squalls
encountered at sea, and though it has
happened frequently, the application of
a little oil and a dry cloth has kept them
in fine condition. I made a workable
rubberized covering for the cameras
from a face mask vulcanized to a piece
of rubber sheeting. The camera is placed
in the bag, the lens pressed against the
inside of the face mask, and the open
end of the bag is gathered together and
made watertight by tying a quarter-inch
rubber cord around the end as tight
as possible. The rubber sheeting is loose
enough to permit winding, change of
focus and f-stop, and an outside view¬
finder provides a general field of view.
The feature I like the most is that the
unit floats, making for ease of handling
while swimming.
Once when I applied the rubber cord
I didn’t tie it tight enough and about a
cup of salt water leaked inside the bag
and into the camera, but it affected
neither lens nor film. I took the camera
apart, washed it in fresh water, oiled it,
and it is as good as new. Being able to
do your own servicing like this is a
great asset out here where it is impera¬
tive to make things do with the limited
tools and parts we have to work with.
Although ability and resourcefulness is
considered a “must” in a sailor’s train¬
ing, these are most vital assets of the
field cameraman.
The vagaries of “marlinspike photog¬
raphy” are a constant threat to success¬
ful accomplishment; thus newsreel tech¬
nique is the only plausible method to
use for capturing natural, unrehearsed
action both on the ship and ashore on
primitive islands; the main thing I have
learned is always get the action in a
hurry, as our stay in most ports is brief.
One has to be “anywhere and every¬
where” simultaneously, and a loaded
camera and a small satchel full of fresh
film must always be at hand.
296
American Cinematographer
May, 1955
If there is time, I take a meter read¬
ing, but more often the f-stop must be a
guess, and the distance always so. A
Kadisch shoulder brace has been invalu¬
able to me. The trick of letting the ship
roll under me compensating for it by
movement from the waist up, has solved
the unstable horizon problem invariably
encountered afloat. A running sheet
block may come within inches of a blow
on the head, and someone rushing to
cast off a halyard does not always see
me. Once I was so busy taking a shot
aloft that I was nearly pinned between
the mast and the foreyard as the yards
were hauled around sharply by the
watch on deck.
Perhaps, the most dramatic experi¬
ence in this respect came on a dark,
windy night near Pitcairn Island in the
South Pacific. Returning to that island
from an offshore trip with some Pit¬
cairners, I was one of seven occupants
of a 37-foot longboat being towed be¬
hind the “Yankee” when the towline
parted, leaving us drifting in open
sea for over a half hour before the
“Yankee” could furl her squaresails and
return to search for us. We were as re¬
lieved to see her tall spars reappear over
the steep swells as if we had been lost
for several days; but the pictures I ob¬
tained earlier that day from astern at
surface level in that rough sea were
well worth the experience.
One of the biggest photographic prob¬
lems at sea, especially in the equa¬
torial zone, is the light intensity. My
first experience with this occured during
the previous summer’s shooting of a
Warner Brothers “short” titled, “Ma¬
riners Ahoy,” featuring Girl Scout Ma¬
riners sailing the “Yankee.” Because of
terrific reflected light intensities off the
stark white bulwarks of the “Yankee,”
the clouds and the sea, I used an inci¬
dent meter. Tests previously made with
the meter on New England coast waters
showed that it worked well on board,
and the whole film was shot this way
with excellent results. However, when
we reached the equator on the world
voyage, I ran into a surprising tropical
light condition caused by the unusual
position of the sun. I made an adjust¬
ment for incident readings, but not
enough. It wasn’t until we reached Hon¬
olulu three months later that I was able
to view the footage just shot and found
some scenes were as much as a full stop
overexposed.
This brings up the biggest difficulty of
all — infrequent lab reports — for we
move slowly through seldom traveled
areas, and it is often months before we
can see the results of our shooting. Be¬
cause of this added problem, it is neces¬
sary to overshoot and get plenty of cut-
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American Cinematographer
May, 1955
297
aways, reaction, and neutral shots, in
order to play it safe. I am convinced
that a reflected light meter is best for
use in the tropics in the conditions un¬
der which we have to work. We run the
gamut on intensities from the white
sails of the ship against brilliant blues
of the sky and sea, to the golden soft-
skinned Polynesians on the dazzling
atolls and the dark, grease-coated
“Adams and Eves” in the jungles and
mountain areas of Melanesia.
Following action as when the boys
harpooned and captured a 3-ton whale
in the Galapagos is a real challenge
for any photographer, for a meter read¬
ing off the stern or from aloft may be
f/9 or f/10; abeam, looking down, f/8;
while a sudden shift to f/6.3 or f/7
might be required as we come along¬
side. Closeup shots of deck activity at
the same time could drop to f/6 or f/5.6.
In such cases, I use a median stop,
hoping that time and action will permit
another angle for inserts. Such cover¬
age and over-shooting is aimed to give
a nicely balanced sequence.
Another problem confronting us con¬
tinually is that of edge fog. Very rarely
does the opportunity to reload in the
shade present itself. It is more apt to
occur on the water, on deck or on a
bright, sandy beach. Evidence of this
dreaded bugaboo already has appeared
in some of the returned work prints.
The invaluable service of a changing
bag is fine for both movie and still
cameras while on board, but not prac¬
tical for action photography ashore, for
it is only extra bulk to carry and the in¬
tense heat created inside produces mois¬
ture that is liable to ruin the film.
I find it necessary to work dressed in
light clothing with the least amount of
equipment possible, carrying my camera
by the shoulder brace in one hand, and
a light airlines satchel containing film,
spare filters and lenses in the other.
Everything is geared to permit quick
movement and to cut down fatigue on
the job. The freedom of movement thus
afforded was particularly appreciated
when I filmed one of the most interest¬
ing events encountered on the whole
trip. This was a ritual in the New Heb¬
rides islands when young boys prove
their attainment of the courage of man¬
hood by headlong jumps from a plat¬
form atop a 75-foot rickety tower con¬
structed of tree limbs and vines.
This is a rite that has been witnessed
by only a very few white men, and it
was the first time that it had been
photographed so extensively with a mo¬
tion picture camera. The weird ritual
lasted fully six hours, and in order to
him the action from all possible angles
— to capture its full dramatic impact —
I had to shoot and move quickly from
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one place to another at the base of the
tower.
This sequence shows twenty-eight
Melanesian youths diving, one by one,
into space toward the ground below,
often from varying heights. Attached to
their ankles were lengths of stout vines
which snubbed them to a stop just short
of inches from the ground.
Beyond the technical problems en¬
countered, the ability to work success¬
fully with the other people on hoard is
important — those who are also taking
pictures (for the crew is made up of
avid camera fans) and those who are
being photographed.
The strange disease known as “trop¬
ical fatigue'’ begins to take its toll after
several months, and the close living con¬
ditions on the ship don’t ease the ten¬
sion any. Morale goes up and down in¬
versely with the thermometer, and there
is a limit to what one can do. For ex¬
ample, shooting interiors requiring hot
floodlights just don’t go, and due con¬
sideration must be given to other photo¬
graphers. We have learned to cooperate
with others, but even the best of inten¬
tions have resulted in some beautiful
“backside studies.”
On board, space does not permit ran¬
dom wandering about the subject, so
we first get the long shots, then medium
and closeups, not moving from one to
the other till all is ready. Naturally, the
course of action does not always permit
this freedom. It did not take long for
the crew to avoid looking at the camera,
but try to explain this to the Stone Age
Chimbus in interior New Guinea. I
thought it would be easy to interest them
in their kundus (drums) or spears while
they danced, but cinemachinery of the
modern age held much more fascina¬
tion for them; gifts of stick tobacco
used for trading purposes brought the
eventual solution. Even in civilized
countries such as Siam or Indonesia, the
problem of communications is a great
obstacle, for interpreters are not often
available in remote areas, and the result
is the need for a director, cameraman,
and linguist all rolled into one to speed
up production.
There is yet no book written that can
provide answers to all the problems
and obstacles we encountered. Sound
judgment, the old-fashioned method of
trial and error, plus the past experience
of five world voyages by the skipper
have been employed to fullest advantage.
It is the challenge of constant changing
variables that we meet face to face on
the ship as well as on the islands and
continents of the world, while we watch
for the unusual and unpredictable to
occur, that produces the rare and un¬
forgettable thills that I wouldn't miss
for anything as a marlinspike camera¬
man. end
298
American Cinematocrapher
May, 1955
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FILMING AUTO RACES FOR “THE RACERS”
(Continued from Page 273)
sand bag its steering cable snapped and
it continued to roll forward straight at
Phillips. Sensing the trouble, he man¬
aged to roll out of the way just as the
ear thundered past.
One of the major problems in shoot¬
ing these racing scenes was gaining co¬
operation from officials and co-ordina¬
ting the mechanics of photography with
the events of the race. Foreign officials
take their racing very seriously and are
disinclined to deviate from established
protocol for anything as frivilous as the
making of a motion picture. As a result,
there often were delays and miles of red
tape to be unspooled before an actual
event could be shot.
The traffic control situation during
filming on public roads was also an
ever-present problem. Usually the local
police were lined up ahead to clear traf¬
fic, but on one occasion Phillips was
riding camera on a speedy racer that
went careening through a tunnel. Just as
it came out the other end, a man on a
motor scooter appeared directly in the
path of the car. With much swerving
and jamming of brakes the driver of the
car just managed to avoid flattening the
unconcerned scooterist. It turned out
that the scooter rider was the local chief
of police and the officers posted up
ahead didn’t dare stop him.
The climactic sequence of the film,
and one which brings edge-of-the-seal
chills and thrills to the audience, is that
which portrays the famous Italian “Mille
Miglia” (or literally: “Thousand Mile”)
race. To Europeans the Mille Miglia is
more than just a road- race; it is “truly
an emotional experience.” More famous
and more gruelling than our Indiana¬
polis Speedway Classic, the race takes
place over 998 miles of the ruggedest
mountain roads in the world, stretching
in a circle from Brescia to Rome and
back. It attracts the best drivers racing
the world's best cars, and creates a
frenzy of spectator excitement that
makes our World Series hysteria seem
tame by comparison. Death is a con¬
stant co-pilot in the fleet, tiny racers
as they scream around the hairpin
curves of the Appenines mountains, con¬
sidered the most dangerous terrain in
the world for automobiles.
The problem for Frank Phillips and
his camera crew was to capture visually
the subjective excitement and danger of
this event — to place the audience in the
away places where electric power is not avail¬
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ORDER THROUGH CARTER
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American Cinematographer
May, 1955
299
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Compact electronic timer for ac¬
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ANSON RESEARCH COMPANY
4337 Clybourne Ave., No. Hollywood,
California
driver's seat, as it were. It was in quest
of such footage that he almost met his
Waterloo. He had taken off in a plane to
him part of the race from the air, and
all was going well until they ran into
a violent downpour of rain near Ancona
on the Adriatic Coast. The pilot, mis¬
taking a ploughed held for a landing
strip, came in for a landing. The plane
nosed over and the tail broke off.
Luckily, no one was hurt, but the ac¬
cident put a stop to that phase of the
operation.
One of the more hair-raising se¬
quences of this same race shows two
cars racing neck-and-neck toward a nar¬
row arch barely wide enough for one
car. In this scene, John Fitch was
doubling the Kirk Douglas character,
while de Graffenried doubled the other.
The cars stayed side-by-side until the
very last moment. Then Fitch forged
ahead just in time to squeak through
the arch with one coat of paint to spare.
Phillips admits that just watching this
trick took ten years off his life.
The climactic phase of the Mille
Miglia race, as portrayed in the film,
presents a situation in which the main
character’s headlights give out a few
miles from the finish line. Instead of
quitting, he pulls up bumper-to-bumper
behind his closest opponent and uses the
lights from the car in front to guide him
to the finish.
The technical problems attendant to
filming this sequence were enormous.
First, because the lights of the racing
cars had to show up in proper contrast
to the general exterior low key illumina¬
tion, the sequence could not be shot in
the usual “day for night” fashion,
whereby a scene is photographed in
broad daylight, using underexposure
and a blue filter to gain the night effect.
On the other hand, the sequence could
not actually be shot at night because
the detail of the cars had to be dis¬
cernible and it was impractical to light
them over the vast area they were to
travel. It seemed that there was a
period of only about 10 minutes at dusk
when the waning light was just right for
shooting the sequence. The urgency of
having to shoot such a difficult sequence
in such a short space of time was further
complicated by the fact that shooting
had to be done on one of the busiest
roads in Italy.
The problem of headlights bright
enough to burn through the relatively
bright exterior illumination at dusk, was
solved when Phillips noticed the effect
and light quality of aircraft landing
lights. He borrowed four of these lights
from TWA to shoot the sequence. On
the screen the effect is perfect. The au¬
thentic atmosphere of night is there, but
sufficient illumination is present to make
•
all the details of the scene stand out so
that nothing is missed.
Process background plates, which
were a part of this assignment, were
filmed in the conventional 3-to-4 aspect
ratio, using a 35mm wide-angle lens
which enabled Phillips to take in a
greater spread of angle; at the same
time it tended to smooth out any shocks
caused by bumps in the road.
For Frank Phillips, “The Racers” was
just another in a long series of camera
assignments. He “grew up” in the film
industry, starting as an office boy in a
lab. He spent a total of 23 years at
M-G-M. He became an assistant camera¬
man in 1939, then took time out to join
Jonh Ford’s special Naval motion pic¬
ture unit. On returning to M-G-M he
became assistant cameraman to Harry
Stradling, A.S.C., with whom he worked
on the Academy Award winning “Pic¬
ture of Dorian Gray.”
In 1949 he became camera operator
for Robert Surtees, A.S.C., and spent
six months with him in Africa on “King
Solomon’s Mines,” which also won an
Academy Award. After this he found
himself in a “musical” rut, working on
such films as “Singing in the Rain,”
“Rose Marie,” and “The Student
Prince.”
At 20th- Fox he shot special footage
for “The Egyptian,” his favorite se¬
quence being the lion hunt in which he
got some spectacular shots of the lions
being chased up Red Rock Canyon
north of Hollywood. He next worked on
some of the early tests of the revolution¬
ary new Todd-AO wide screen process.
V hen he finished his assignment on
“The Racers’’ he went to Venice to film
special night chase sequences through
the canals for “Lord Vanity.” Here, he
had an all Italian crew with the at¬
tendant language problem, plus the tech¬
nical difficulties presented by voltage
drops, no place to hang lights, etc. The
entire canal sequence was shot using
four 10,000-watt "Brutes” for illumina¬
tion.
Phillips spent 9 months of last year out
of the country on various film asign-
ments. He has just returned from Tokyo,
where he shot footage for 20th’s “House
of Bamboo. He is now en route to
Mexico to shoot cattle stampede se¬
quences for “The Tall Men.”
Asked to comment on his present ca¬
reer as daredevil camera specialist,
Frank Phillips sums it up this way:
"Most of the time you sort of have to
feel your way along because there are no
precedents to follow. But one thing I’ve
found out for sure is that good shots
don’t just come along — you have to go
out after them.”
His work on “The Racers” certainly
proves this statement. end
300
American Cinematographer
May, 1955
CATALOGS & BROCHURES
Magnetic Recording Heads
An informal discussion about mag¬
netic recording heads is being released
by Stancil-Hoffman Corp., 921 No.
Highland Ave., Los Angeles 38, Calif.
The descriptive material covers basic
design considerations of heads along
with curves and factors to be considered
in the associated electronics to achieve
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language, material is of interest to lab¬
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cost of mailing directly to Stancil-Hoff-
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Audio-Master Corp., 17 East 45th St.,
New York City, offers a new catalog il¬
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of audio visual equipment ranging from
small portable and inexpensive 3-speed
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Neumade Products Corp., 250 W. 57th
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Animation Equipment Corp., 38 Hud¬
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issued a new booklet on the company’s
new Special Effects Optical Step Printer.
Copies are available free to those mak¬
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THE LITERATURE described above
contains a wealth of valuable data
for the cinematographer and others
in the film industry. Unless other¬
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Requests should be addressed
directly to the company named —
not to American Cinematographer.
— EDITOR.
AND CINEMATIC
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SMALL SUBJECTS,
BIG CLOSEUPS
( Continued from Page 286)
photographing insects. I had previously
tried artificial light, but in order to
shoot at small apertures, the lights
would have to be too close, and hence
too hot, for my tiny subjects.
My first performer was a large black
and yellow garden spider. After trap¬
ping him, I placed him on a beautiful
red flower mounted on my rotatable
stage. But as I started to focus the lens,
the spider would move, and he managed
to keep out of camera range no matter
how I rotated the stage. It seemed that
he wanted to be continually on the
move. That proved his undoing. I re¬
moved him from the flower and placed
him on one end of a yardstick. Imme-
(Continued on Page 303)
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The real an¬
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Prices for both the H-8 or H-l 6
within U. S. $99.60. Cameras
with outside frame counter
$109.80. Tax extra. One year
guarantee and camera trans¬
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for free informative booklet.
Prices subject to change
without notice.
TULLIO PELLEGRINI
1545 Lombard St.
American Cinematographer
May, 1955
301
MOVIOLA
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American Cinematographer
1782 N. Orange Dr., Hollywood 28, Calif.
HOLLYWOOD STUDIO PRODUCTION
Feature and television film productions for which members of the American Society of
Cinematographers were engaged as Directors of Photography during the past month.
ALLIED ARTISTS
Ellsworth Fredericks, “The Body Snatch¬
ers.”
Harry Neumann, “Phoenix City.”
Carl Guthrie, “Jail Busters."
COLUMBIA
Burnett Guffey, “Sergeant O'Reilly,” (Shoot¬
ing in Japan).
Charles B. Lang, Jr., “Queen Bee.”
Henry Freulich, “The Big Shock.”
William Mellor, “Last Frontier,” (Techni¬
color; CinemaScope).
Ray Rennahan, “Marshal of Medicine Bend.”
METRO-GOLDWYN-MAYER
Paul Vogel, “The Bar Sinister,” (Eastman
Color; CinemaScope).
Robert Surtees, “Trial,” (CinemaScope).
George Folsey, “Forbidden Planet,” (Color;
CinemaScope) .
PARAMOUNT
Loyal Griggs and Wallace Kelley, “The
Ten Commandments,” (Technicolor; Vista-
Vision).
Daniel Fapp, “Artists and Models,” (Tech¬
nicolor; VistaVision).
R.K.O.
Joseph Biroc, “Bengazi,” (Technicolor; Su¬
perscope) .
William Snyder, “Treasure of Pancho Villa,”
(Technicolor; Superscope).
REPUBLIC
Lionel Lindon, “The Gunman,” (Trucolor).
Jack Russell, “Deadline Alley.”
20TH CENTURY FOX
Milton Krasner, “How To Be Very, Very
Popular,” (Color; CinemaScope).
Franz Planer, “The Left Hand of God,”
(CinemaScope and Color).
Leon Shamroy, “A Many-splendored Thing,”
(CinemaScope and Color).
Lucien Ballard, “Seven Cities of Gold,”
(CinemaScope; Color).
UNIVERSAL-INTERNATIONAL
Irving Glassberg, “The Rawhide Years,”
(Technicolor).
Russell Metty, “There’s Always Tomorrow.”
Carl Guthrie, “Francis In The Navy.”
Wilfred Cline, “The Second Greatest Sex,”
(Technicolor; CinemaScope).
George Robinson, “The Kettles in the
Ozarks.”
Maury Gertsman, "A Time Remembered,"
(Technicolor).
William Daniels and Thomas Tutwiler,
“Away All Boats,” (Technicolor: Vistavision).
WARNER BROTHERS
Harold Wellman, “The Animal World,”
(Technicolor) .
Ted McCord, “The Jagged Edge,” (Warner-
color; CinemaScope).
Ernest Haller, “Rebel Without Cause,”
( CinemaScope ) .
Hal Rosson, “Pete Kelly’s Blues,” (Warner-
Color; CinemaScope).
John Seitz, “The Darkest Hour,” (Warner-
Color; CinemaScope).
INDEPENDENT
Harry Stradling, “Guys and Dolls,” (Cin¬
emaScope; Technicolor), Samuel Goldwyn
Prod.
Gil Warrenton, “Charge of the Rurales,”
(Ansco Color; Wide-screen), R. L. Lippert
Prod.
Jack Cardiff, “The Boy and the Bull,” (East-
manColor; CinemaScope), King Bros. Prodn.
Leo To er, “The Tall Men,” (Color; Cinema¬
Scope).
Joseph LaShelle, “Storm Fear," Theodora
Prodns.
Ernest Laszlo, “The Big Knife,” Aldrich As¬
sociates.
TELEVISION FILMS
Lucien Andriot, “Where Were You?” “It’s A
Great Life,” and “The Life of Riley.”
Joseph Biroc, “Dear Phoebe.”
William Bradford, “Gene Autry.”
Norbert Brodine, “The Loretta Young Show.”
George E. Clemens, “Schlitz Playhouse of
Stars.”
Robert DeGrasse, “Make Room For Daddy,”
and the “Ray Bolger Show.”
George Diskant, “Four Star Theatre.”
Karl Freund, “I Love Lucy,” December
Bride,” and “Our Miss Brooks.”
Frederick Gately, “This Is Your Music,"
“Cavalcade of America.”
Sid Hickox, “Willy.”
Sam Leavitt, “The Halls of Ivy.”
Jack Mackenzie, “Public Defender,” and
Passport To Danger.”
Virgil Miller, “You Bet Your Life.”
Hal Mohr, “Life With Father.”
Nick Musuraca, “Lineup.”
Kenneth Peach, “Steve Donovan, Western
Marshal,” “Gangbusters.”
Robert Pittack, “The Lone Ranger,” and
“Private Secretary.”
Mack Stengler, “Liberace Show,” “Flor-
ian Zabach Show,” and “It’s Fun To Reduce.”
Harold Stine, “Superman,” and “Korla Pan¬
dit show.”
Alan Stensvold, “Andy’s Gang.”
Walter Strenge, “Waterfront,” “My Little
Margie.”
Philip Tannura, “The Burns and Allen
Show,” and “The Jack Benny Show.”
Stuart Thompson, “The Whistler.”
Lester White, “Judge Roy Bean.”
Harry Wild, “Boh Cummings Show."
302
American Cinematographer
May, 1955
SMALL SUBJECTS, BIG CLOSEUPS
( Continued from Page 301 )
diately he started walking toward the
other end of the stick; and when I
turned the stick around, he turned and
retraced his steps. These long, 36-inch
walks soon began to tell on him and
finally he slowed to a complete stop —
completely pooped out. In this state of
near exhaustion he wasn’t likely to roam
around the flowers on the stage, I rea¬
soned, so I put him back on “the set,”
made my shots, varying my camera
angles, then returned him to his web in
the garden.
The next garden denizen to go before
my camera was a lizard. Not only did
1 want to shoot him in closeup, but 1
wanted to photograph one of his eyes
so that it would entirely fill the screen.
But he had different ideas. No matter
how I placed him on stage, he would
jump off and scamper away. I reasoned
that there must be a limit to his daring
and jumping ability, and that if I raised
my stage platform high enough from
the ground, he’d probably think twice
before diving off.
I mounted the stage atop a 12-foot
pole, and placed the lizard upon it. Sit¬
ting on a tall ladder next to the pole,
I prepared to get the shots I had planned.
The lizard would scamper to one side of
the stage, peer over to the side, then
scamper over to the other side. He
evidently was too much of a coward to
attempt the jump and he settled down in
a contemplative mood. While he was in
this immobile state, I focused my camera
for the ultra-closeups I wanted, made the
necessary shots, and then dismissed my
subject after gently lowering him to the
ground.
Shots of ladybugs were next on my
agenda. Perhaps the best time to make
movies of these creatures is when you’re
having a cocktail party; the ice cubes
come in handy for freezing and im¬
mobilizing the bugs. Before I discovered
this, I had placed a ladybug in the cen¬
ter of a flower of contrasting hue, hop¬
ing to film it as it wandered slowly over
its delicate petals. But like the spider and
the lizard, a movie career meant nothing
to her and she kept on the move con¬
tinuously. Imagine trying to get a bead
on such a subject with your camera! It
got me down, you may be sure.
I had to figure some way to slow the
gal down — make her sleepy perhaps?
Then I recalled how I had observed
ladybugs on the shady side of the house
during early morning hours, just barely
moving along, and I figured lowering
her temperature would probably do the
trick. I brought out a tray of ice cubes
and put the ladybug on one. I left her
there for about a minute, then trans¬
ferred her to a flower on my shooting
stage. She remained fairly immobile for
about 20 seconds — just long enough for
me to get the key shots I wanted. Then
as she became more alert and started to
move out of the scene, I continued shoot¬
ing for the total footage required for this
sequence.
The grasshopper proved an unusually
difficult subject to film. No matter what
succulent tid bits I provided him, he
seemer to prefer hopping to eating.
Something had to be done about those
powerful legs of his! The answer?
Scotch tape. ith this I secured both
of his hind feet to the platform and
covered them with leaves. After a mo¬
ment or two of struggle, he settled down
and remained still long enough for my
camera to make the shots I wanted, in¬
cluding a big super-closeup of his
mouth.
Still another insect that presented a
problem was the katydid. Similar in ap¬
pearance to a grasshopper, he is slimmer
and all-green in color. I kept one a pris¬
oner for a week and fed him canna lily
petals and honey. He became quite tame
in a very short time and because of his
cooperation, was soon made the star of
my picture. He figures prominently in
the running gag I injected into the film
— about which there will be more later.
While I was preparing to film the
katydid, I accidentally got some of the
honey on the back of his neck. This
started him washing his face and neck
with his forefeet — much as a cat does.
Naturally I shot this unusual action; on
the screen, the tiny drops of honey ap¬
pear like early morning dew.
And so it was with the rest of the in¬
sects. . . . each presented individual
problems and I had to figure out new
ways and means to make each insect
move or stay in the frame of the picture
without injuring him.
The last insect I filmed was the honey
bee. For a while I was about to give up,
because no matter what I did I couldn’t
get the bee to remain in one place for
any length of time. He was so busy go¬
ing from flower to flower that nothing
seemed to interest him except making
honey. This gave me an idea. Why not
help him? So I placed some honey on
the tip of a toothpick and attempted to
feed him. About four bee stings later, it
dawned upon- me that the bee was not
interested in eating honey that was al¬
ready made. . . . his purpose was to
make it. Suddenly he landed on a
flower and stayed there. I immediately
saw what the trouble was. In trying to
feed him honey, I had gotten a few
drops on his legs and he was trying to
wipe the honey off. I immediately went
into action. I brought him to my small
Synchronous Motor Drive for
16mm Projectors
Especially designed to drive all Bell & Howe///
and Ampro 16mm projectors at synchronous
speed.
The synchronous motor drive can be instantly
attached to projector and taken off at any
time. No special technical knowledge re¬
quired for installation and mounting.
The synchronous motor drive is complete with
base-plate, Cannon plug for cable and power
switch, and a set of reduction gears.
W rite for more details and prices
Also available on special order. Synch. Motor
Drive for all Simplex 35mm portable projectors.
ONE YEAR GUARANTEE!
Immediate Delivery
Available at leading dealers, or direct.
CINEKAD
ENGINEERING COMPANY
500 West 52nd St., New York 19, N.Y.
Plaza 7-3511
DESIGNERS AND MANUFACTURERS OF
MOTION PICTURE— TV EQUIPMENT
PORTABLE WATSON CINE' DEVELOPING
OUTFIT . . . provides a SIMPLE, EFFI¬
CIENT, ECONOMICAL and SPEEDY means
for PROCESSING up to 200 ft. of 16mm
or 35mm (also 70mm) film —
• LOW COST Uniform Processing! Req¬
uires only 1 gal. of solution.
• 3 nesting tanks-reels-scratch-proof loader
• PREFERRED by MORE Professionals
• SIMPLE operation MINIMUM cost—
• FULLY GUARANTEED — prices from $89.00
Extra Reels Tanks etc., available.
Wrife for FREE Processing Booklet. Dept
BURKE & JAMES. INC. 321 So. Wabash, Chicago 4.
American Cinematographer
May, 1955
303
It's easy with the
MERCER FILM PATCH
Descriptive Chart & Price List
Mailed on Request
R.C. MERCER & COMPANY
4241 Normal Ave., Holywood 29, Calif.
NOrmandy 3-9331
Automatic Daylight Processing
DEVELOPING TANK
• Processes up to 200 Ft.
• 8mm-l6mni-35mni
• Movie — X-Ray — Microfilm
• Motor driven portable
• Tough plastic tanks
• Uniform Density Assured
• 70mm tank also available
FILM DRYER
• Motor driven — Heated
• Speedy drying
• Automatic shrinkage allow¬
ance
• Stainless steel and
aluminum construction
• Easily assembled without
tools
• Compact, Portable
Guaranteed. Write for Free Literature.
Micro Record Corp.
Dept. AC
487 South Ave.
Beacon, N. Y.
S.O.S. will accept your old camera as a
trade-in for the “All New Auricon Pro-600".
Time Payments, too!
S.O.S. CINEMA SUPPLY CORP.
Dept. F, 602 W. 52nd St., N.Y.C. 19. Cable Sosound
stage and got all the shots I needed. I
believe it took him nearly half an hour
to completely clean himself before he
flew away.
After filming the insects, I decided to
inject a running gag into the film to
enhance the continuity of my story.
Thus the film, titled “The World
Around Us,” opens with a man seated
in his back yard on a Sunday morning,
reading Flash Gordon in the comics sec¬
tion. Insects are then shown and the
man finally goes to sleep. Scenes of
various other insects are shown ending
with a katydid. Then a cut to the fore¬
head of the sleeping man on which a
katydid had landed, just above his eyes.
(This was the pet katydid I had trained
earlier). The man awakens and runs
into the house and comes out with a
shotgun, followed by his wife. She asks
him what he is hunting for and he says
he saw one “that big,” indicating with
his hands. The picture ends with the
wife telling her husband that he won’t
be reading Flash Gordon again, because
she is cancelling their subscription to
the newspaper.
All closeups of insects were filmed
with a Cine-Special camera using single-
perforated Kodachrome film. (In sun¬
light, the average exposure was f/6.3 at
24 f.p.s.) The film was then rewound
and rethreaded in my Auricon-Pro-
single-system sound camera where the
sound track for the musical background
was recorded. The lip-sync dialogue
shots involving the wife and husband
were shot and recorded simultaneously
with the Auricon.
Filming the garden insects proved
quite an unforgettable experience. I dis¬
covered they could be as unpredictable
as humans. Invariably my insect actors
would do things they were not expected
to do. Like the time I started to film a
large blaek-and-yellow caterpillar; I
placed it on a flower and then moved
the camera in very close to set focus
and framing. But when I looked in the
finder, my subject was missing. I
examined the flower and its foliage care¬
fully, and looked under the stage, but
he was nowhere to be found. Or so I
thought until I chanced to adjust my
lens for the next shot and saw some fuzz
sticking out of the sunshade.
There, curled up snugly inside the
lens shade was my truant actor. What
luck to have found him then, before he
had a chance to ruin the shots that were
to follow! end
Print Dryer Makes ‘Rolling’ Titles
A Rotary dryer, such as used in photo
finishing establishments for glossing and
drying prints, makes an ideal device for
making traveling or continuous titles,
as shown in photo above.
Titles lettered or printed on long
strips of paper can be taped to the cloth
belt of the dryer. The title strip will
move with the belt up and over the
dryer drum, and the speed of travel can
he regulated by the rheostat which is
a part of the equipment.
Lettering the title strip so that the
width of the text lines is from 10 to 12
inches in width will enable shooting at
a distance that will not require use of
auxiliary lens.
Titles made in this way can be as
professional-looking as those made by
any other method.
— John Hoke.
304 •
American Cinematographer
May, 1955
CLASSIFIED ADVERTISING
1°c per word, minimum ad $1.00. Words set in capital letters except 1st word and advertiser’s name, 15c per word. Modified display
format 90c per line. No discount on classified advertising. Send copy with remittance to editorial office, 1782 No. Orange Drive, Hollywood
28, Calif. Deadline 15th of month preceding date of issue.
STUDIO & PRODN. EQUIP.
FOR SALE
FOR SALE
A QUARTER MILLION DOLLAR SELECTION
NEW CAMERECLAIR 35mm STUDIO CAMERA;
pilot pins,- focus thru film; shoots single
frames; five f2 lenses— 25/28/35/50/
100mm; 12 400' magazines. Ideal for ani¬
mation and slidefilms. $3,500 value . $ 995.00
CINEFLEX 35mm REFLEX CAMERA w/6 fast
lenses,- 2 — 400' magazines; 2 motors; $2500
value . 995.00
ART REEVES 35mm OPTICAL RECORDER w/in-
terock motor; glowlamp; footage counter;
amplifier,- 2 position mixer; cables, cases.
Cost $6000 originally. Close out . . 495.00
B&H 35/1 6mm REDUCTION PRINTER, $6000
value . 3495.00
EASTMAN AIRGRAPH 16/35mm FILM DEVEL¬
OPING MACHINES. Fixes, washes and
dries. Stainless steel tank and drum, drive
motor, heater, blower, $1800 value. Gov't
Surplus. New . . . . 295.00
Good used condition . . . 225.00
BRIDGAMATIC JR. 16mm FILM DEVELOPER,
Positive 600', Negative 300' per hr. Re¬
built . . . . 895.00
EASTMAN AUTOMATIC FILM WAXER, $1200
value. Rebuilt . 795.00
400' Magazine conversion w/counter for Au-
ricon Cinevoice. New . 495.00
Same with 1200' mag & motor takeup . 695.00
CINE SPECIAL BLIMP. 200' mag and motor;
has follow focus, 63mm viewfinder. Close
out . 195.00
B&H 16mm FILMO SPECIALIST CAMERA
w/rackover,- matte box; Mitchell type
Finder; syncmotor; 400' mag; w/case.
$2000 value . 995.00
MITCHELL TRIPOD FREEHEAD w/panhandle,
case . 375.00
BARDWELL-McALISTER MULTIPLE FLOODLITES,
3 Quadruple heads to hold 12 bulbs on
rolling tripod stand. Orig. Gov’t cost
$180.00. Surplus . 29.50
BM QUADLITE Heads only $4.95. Stands only 19.95
SOUND MOVIOLA 35mm UDS on rolling
stand. Rebuilt . 995.00
NEW ENCLOSED FILM STORAGE CABINETS,
capacity 20 — 400' reels, 2 drawers, gray
enamelled, $37.50 value . 14.95
Lots of 3 — $12.95 Lots of 6 . 9.95
NEW 1500W NEWSREEL FLOODLITES, $100
value. Close out . 39.50
NEW FRESNEL STUDIO SPOTS, lead wires,
switch, pipe clamp.
2000 Watt . $59.95 5000 Watt . 99.95
PORTABLE MIKE BOOMS, IP// extension arm
on 5' perambulator . 139.50
Same with 15' extension arm . . . 159.50
1600' DOUBLE 16mm FIBRE CASES. Reg.
$4.00. New . 1.95
TIME LAPSE INTERVAL Meters for Bolex and
Cine Special, complete . ., . 146.00
TRADES TAKEN Dept, fc Cable: SOSOUND
S.O.S. CINEMA SUPPLY CORPORATION
602 W. 52nd Street, New York 19. Phone L 7-0440.
FOR SALE
WE ALWAYS HAVE BARGAINS
in Professional 35 & 16mm equipment.
CAMERAS — LIGHTS
MAGNETIC and OPTICAL
RECORDERS and PLAYBACKS
MOVIOLAS — DOLLYS — BOOMS
Send for our constantly changing list.
Hundreds of Other Production Items.
Write — Wire — Phone
CINEMA SERVICE CORP.
106 West End Avenue, New York 23, N.Y.
TRafalgar 3-1411
BASS ... is headquarters for Arriflex 16; the new
Zoomar 16; Cine Specials, all models; Bell &
Howell 70-DL; Bolex H-16; Used Cine Special II,
1" F: 1 .4 Ektar, new Par finder, case, $875.00;
H-16 DeLuxe Bolex, 1" F: 1 . 4 Biotar, $245.00;
B.&H. 70DL, 1" F: 1 .9 Comat, case, $275.00; B.&H.
70DA, 1" F: 1 .8 Cooke, case, $175.00; Victor 5,
1" F: 1 .5, 15mm F:2.7, 3" F:3.5, case, $165.00.
Best buys . . . Best trades always. BASS CAMERA
CO., Dept. CC, 179 Madison St., Chicago 2, III.
1 6MM HOUSTON K-1A . . . developing machines.
For reversal or positive film. Complete with
refrigerator units, temperature control, condensors,
evaporators, thermostats, etc. BRAND-NEW, prices
reduced! Write. AIR PHOTO SUPPLY, Dept. C-l,
555 E. Tremont Ave., New York 57, New York.
16mm RCA Sound Projector wits sync motor.. ..$325. 00
16mm MOVIE MITE Sound Projector with sync mo-
tor . $195.00
35mm ZEISS-IKON Portable Sound Projector with sync
mole . - . $275.00
PORTABLE Blimp with Follow Focus, for Mitchell 35mm
with 400 ft. magazines . $175.00
MOLE RICHARDSON 170 Hi-Arc with stand . $825.00
120 AMP. Rotary Hi-Arc with stand....- . $200.00
220 VOLT, 3 phase door mounted sync motor for
Mitchell Standard . $295.00
MITCHELL Wide Angle Finder Adaptor . $45.00
25mm BALTAR F:2.3 in Mitchell Mount . $160 00
35mm BALTAR F:2.3 in Mitchell Mount . ....$160.00
75mm ASTRO PAN F:2.3 in Mitchell Mount . $90.00
100mm ZEISS F;2.7 B&H Standard Mount . $95.00
35mm WALL PILOT Pin Movements. NEW . $375 00
J. BURGI CONTNER, A.S.C.
P.D. Box 1008, New Canaan, Conn.
BERTH I OT Pan Cinor Lens and Case for 16mm Cam¬
eras (Demonstrator) . $235.00
BOLEX H-16 Supreme Camera with 1" f : 1 . 9 Lens,
f;2.5 15mm W.A. Lens, 4" f : 2 . 7 Telephoto Lens,
Weston Meter and Tripod (used) . $315.00
HALLEN 16mm Magnetic Film Recorder 1 year
old . .....$695.00
16mm SOUND Projectors, Ampro, DeVry, B&H, Victor
and Revere (usedl. Write for list... .$75. 00 to $250.00
2 35mm DeVRY 1000 Watt Portable Sound Projectors
less Amplifiers and Speakers . $100.00 each
WEBSTER VISUAL SALES CO.
539 Vine Street, Chattanooga, Tennessee
ALL GUARANTEED LIKE NEW!
Linhof Prof. Tripod Truck. Reg. $250.00. Spec. $169.50.
Cine' Kodak Tripod Truck, $39.50.
Cine' Kodak Tripod, $44.50.
16mm Pathe' f/1.9 Kodak Lens, Case, latest, $359.00.
Magazine 16 Cine' Kodak f/1.9, $59.50.
Bolex HI 6, f/1.4 Switar, eye-level focus, $249.50.
Bell & Howell "Showmaster" and Case, $195.00.
Bell & Howell 202C Magnetic Sound Proejctor, $495.00.
New Cine' Kodak K-100, f/1.9 Ektar, $269.00.
Mail Orders Promptly Filled
CAMERA CRAFT, 18 E. 42nd Street
New York 17, N.Y. Dep’t G.
BELL & HOWELL FILMOARC projectors, 16mm sound.
Model 1 40- L. Have matching pair, completely over¬
hauled by factory. Includes all the following:
2 — B&H 1 40- L 16mm sound heads, with 3" and
3'// lens. 2 — B&H 'Strong'- Jr. — High intensity
lamphouses. 2 — B&H "Strong" rectifiers. 1 — B&H
50-watt dual projector amplifier. 1 — B&H Filmoarc
auditorium speaker. 1 — B&H portable projection
stand. 1 — B&H professional rewind. Some spare
parts, carbons, fungar bulbs, etc. First $800.00
cash takes all. JACK CURRY, 919 North 6th Street,
Phoenix, Arizona. ALpine 8-0761 .
BERNDT-MAURER 503-B, registration pin, prismatic
viewfinder, internal rackover, two 400 ft. maga¬
zines, 16, 25, 50, Schneiders, sync motor, 12-V
motor, battery, charger, tripod, blimp, carrying
case, 1 master and 1 senior color tran. All in per¬
fect condition, $1,750.00. FRITZ ROLAND, 2732
Porter St. NW., Washington 8, D.C.
IMMEDIATE DELIVERY ON MAGNASYNC RECORDING
EQUIPMENT. NEW RECORDERS FROM $895. MAG¬
NASYNC DEMONSTRATORS $1100. OTHER NEW AND
USED MOTION PICTURE EQUIPMENT. WRITE FOR
INFORMATION. CINE ASSOCIATES, P.O BOX 98
BELLAIRE, TEXAS.
ARRIfLEX 35mm, 12-volt, four lenses, six 200 ft. mag¬
azines, metal carrying case, Tripod adaptor, cables.
Like new, $800.00. Will send photos and complete
description. MAYFIELD PHOTOS, INC., Dayton 2,
Ohio.
AUDIO AKELEY single system camera complete with
Akeley sound head. Gyro tripod, 3 lenses, view
finder, Maurer mixing amplifier. Complete with
cables, power supply and W. E. microphone.
CAMERA EQUIPMENT CO., 1600 Broadway, New
York 19, N.Y. Cable: Cinequip.
WALL S. S. 35MM. SOUND CAMERA
COMPLETE with Galvanometer, amplifier, portable
power supply, 40-50-75 and 100mm. lenses, erect
image viewfinder, complete front attachments, two
1000 ft. magazines. Balanced Tripod, necessary
carrying cases. Overhauled. Guaranteed perfect.
Reasonable.
CAMERA EQUIPMENT COMPANY
1600 Broadway New York 19, N. Y.
LIKE NEW
Bell & Howell Standard 35mm Camera, Mitchell-
type Rackover, Mitchell Upright Viewfinder. Cost
$6150.00.
IN FIRST-CLASS CONDITION
Will sell for. . $4650.00
Ask for Mr. Rose's Camera.
Also at Reasonable Prices 35mm, 40mm, 50mm, and
75mm lenses; matte box; 1000-ft. magazines; Friction-
head tripod.
ART REEVES MOTION PICTURE EQUIPMENT CO
7512 Santa Monica Blvd.,
Hollywood 46, Calif.
PRECISION Magnetic Heads for Engineers - Industry
Erase - Record - Playback
STANCIL-HOFFMAN CORPORATION
921 North Highland Avenue
Hollywood 38, California
WE BUY, SELL AND RENT PROFESSIONAL AND 16mm
EQUIPMENT, NEW AND USED. WE ARE DISTRIB¬
UTORS FOR ALL LEADING MANUFACTURERS. RUBY
CAMERA EXCHANGE, 729 Seventh Ave., New York
City. Established since 1910.
1 — NEW Model A. A. Mac Van Sound and picture
16mm printer. Automatic lite changer. SAM'S
ELECTRIC SHOP, assaic, N.J.
WANTED
WE'RE OUT SCOUTING FOR
Cameras, Dollies, Lenses, Lights,
Moviolas, Printers, Recorders,
Studio or Lab Equipment
We also trade or take consign¬
ments. Set your own price — we'll
get it.
Western Union-WUX New York,
Phone PL 7-0440
S.O.S. CINEMA SUPPLY CORPORATION
Dept, fc Cable: SOSOUND
602 W. 52nd Street New York 19, N. Y.
IMMEDIATE CASH PAYMENT FOR
CAMERAS AND EQUIPMENT
NEED EYEMOS (SINGLE LENS AND TURRET)
MITCHELLS, ARRIFLEX, DE BRIES, B&H STANDARDS
AND HI-SPEEDS, WALLS, AKELEYS, CINE SPECIALS,
AURICONS, MAURERS, FILMOS. ALSO BALTARS,
COOKES AND OTHER LENSES. SOUND STAGE
LABORATORY AND EDITING EQUIPMENT OF ALL
TYPES REQUIRED. PLEASE SHIP INSURED OR FOR¬
WARD DESCRIPTIONS AIRMAIL. IMMEDIATE PAY¬
MENT.
GORDON ENTERPRISES • 5362 N. Cahuenga
NORTH HOLLYWOOD, CALIFORNIA
WANTED TO BUY FOR CASH
CAMERAS AND ACCESSORIES
MITCHELL, B&H, EYEMO, DEBRIE, AKELEY ALSO
LABORATORY AND CUTTING ROOM EQUIPMENT
CAMERA EQUIPMENT COMPANY
1600 BROADWAY, NEW YORK CITY 19
CABLE: CINEQUIP
F & B PAYS MORE
FOR USED 16/35MM EQUIPMENT
WRITE — WIRE — PHONE
FOR OUR CASH OFFER
FLORMAN & BABB MU. 2-2928
70 W. 45TH ST. NEW YORK 36, N.Y.
WANTED
PRODUCTION EQUIPMENT, LABORATORY EQUIPMENT,
EDITING EQUIPMENT, 16mm. and 35mm. FROM SIN¬
GLE ITEMS TO COMPLETE STUDIOS. TRADES AC¬
CEPTED.
THE CAMERA MART, INC.
1845 Broadway Circle 6-0930 New York 23, N.Y.
( Continued on Next Page)
American Cinematographer
May, 1955
305
Classified Ads 20th-Fox Develops “Zoom” Spotlight
Produces a 10-foot spot ranging from 25 to 70 feet.
Shown above with the Zoom Follow Spot they created are, left to right, Dave Anderson,
Head of Electrical Production, 20th Century-Fox Studio; Vic Machado and Tom Smythe.
(Continued from Preceding Page)
WANTED
WANTED
Mitchell — Akeley — B & H — Wall - — Eyemo
Cameras — Lenses — Equipment
NATIONAL CINE EQUIPMENT, INC.
209 West 48th St. New York, N Y.
CAMERA & SOUND MEN
TOP-NOTCH cameraman available. Has done over 400
TV films, industrials, commercials. Eastmancolor,
kodachrome, B&W. Has made films all over U.S.,
Canada, Mexico, Europe. Now available for the¬
atrical short subjects, features, or TV film series.
Has complete Mitchell equipment. BOX 1205
AMERICAN CINEMATOGRAPHER.
EXPERIENCED 16mm cinematographer returning to
Africa. Two months open to assignments. Shoot to
script, portable sound. Write or call. STUTTMAN
PRODUCTIONS, Box 90, E. Lansing, Michigan
Ed. 2-5709. U '
POSITIONS AVAILABLE
PROFESSIONAL 16mm photographer and editor, with
established company in St. Louis area with a heavy
load of commitments. BOX 1208, AMERICAN CIN¬
EMATOGRAPHER.
POSITIONS WANTED
NEGRO — Catholic, experienced cameraman, 35mm
newsreel, 16mm color productions, editing, light¬
ing, titling, also projectionist. MALCOLM MYERS,
3424 Clark Ave., St. Louis 3, Missouri.
LABORATORY & SOUND
SOUND RECORDING at a reasonable cost. High
Fidelity 16 or 35. Quality guaranteed. Complete
studio and laboratory services. Color printing and
lacquer coating. ESCAR MOTION PICTURE SERVICE
INC., 7315 Carnegie Avenue, Cleveland 3, Ohio!
Phone Endicott 1 -2707.
ROCKY MOUNTAIN 16MM HEADQUARTERS
Processing — Printing — Recording
Editing — Production — Rental — Sales
DuPont, Eastman and Fastax films in stock.
Write for Price List.
WESTERN CINE SERVICE, INC.
114 E. 8th Ave., Denver 3, Colo. TAbor 5-2812
LOWER cost 16mm editing and sound recording —
— only 22 miles from Hollywood. EL RANCHO
AUDIO, 26236 Fairview Avenue, Lomita, California
DAvenport 6-4925.
If you ke wonderjxg what an atomic
cannon is doing with a Twentieth Cen¬
tury-Fox label on it, you can relax. The
long-barrelled artillery piece you see
above is not an artillery piece at all but
the new Zoom Follow Spot, developed
at TCF by electrical production chief
Dave Anderson with the help of Tom
Smythe of the machine shop and Vic
Machado of the sheet metal shop.
The development of the Zoom spot is
another case of necessity mothering in¬
vention. Several of the numbers in “No
Business Like Show Business” required
the use of a 10-foot spot that could
travel from 25 to 70 feet out and stay
in sharp focus. No such piece of equip¬
ment existed. More than that, it was
generally believed throughout the in¬
dustry that such a light was an impos¬
sibility. Flowever. maybe no one told
Dave Anderson and his crew it was
impossible, because they went ahead and
produced one.
First they went to Dr. Armin Hill of
ihe Motion Picture Research Council
and he developed a set of experimental
lenses. Then a problem arose. The 10-
foot spot had to have a strength of 1200
foot candles of light, but to achieve a
spot that powerful an arc had to he
Photos and text courtesy Editor of “Action,”
20th Century-Fox Studio Club publication.
used instead of one of the incandescent
lights now in general use. However, an
arc light has a color temperature of
6100 degrees Kelvin. To make the light
workable for color productions, the color
temperature had to be reduced to 3350
degrees. Another impossibility, they said.
But a young man named Bob Frazer,
who works for Pacific Universal Prod¬
ucts Corporation in Los Angeles, didn’t
believe in “impossible” either, so he
went to work and came up with a lens
coating that did the job.
The long barrel-like projection houses
five lenses: A quartz condenser, a pyrex
condenser, a pair of motor-driven lenses
on an endless chain for the Zoom effect,
and an object lens.
The spot pulls 225 amps of current
and puts out a quantity of light greater
than has ever been achieved in a lamp
of this type before. It wasn’t supposed
to be possible, but there’s the lamp, and
thre you are. They just don’t hardly
make Llectrical Production departments
like the one at Fox any more.
YOU WON'T MISS AN ISSUE . .
of American Cinematographer if you renew
your subscription promptly when notice is re¬
ceived. The yearly subscription rate remains
the same — $3.00 (U S. and Canada I Foreign,
$4.00
.'506
American Cinematographer
May, 1955
Close-up ot the business end of the new Bell & Howell double-head printei
Now- the only double-head printer
designed as a fully integrated unit
Here is another step forward in Bell & Howell’s year
of printer progress. This is the Design 5205 double¬
head printer, “heads above’’ all others in quality re¬
production of sound and picture.
This new design does not merely combine two sep
arate heads. It is one precisely engineered instru¬
ment. Vital parts have been re-designed for better
contact at the printing apertures. Brand new features
include printing sound -drum assembly, sprockets
with improved tooth pitch, stripper plates.
Model D and J printers will come with double-
head assemblies. Outstanding features of the new
Bell & H owell double-head printer will he available
also as modifications to existing printers.
More than anyone, professionals know . . .
experience leads to Bell&Howell
HONORARY ACADEMY AWARD 1954
To Boll & Howell for 47 Years
of Pioneering Contributions
to the Motion Picture Industry
SOUND APERTURE PICTURE APERTURE
For full information about Design 5205 double-
head printer, write Professional Department,
7148 McCormick Road, Chicago 45, Illinois.
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JUNE • 1955
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
/ V *
/ft This issue • • ■
• The Trend To Wider Motion Picture Negatives
• New Magnetic Sound Recording Camera
• CinemaScope Photographic Techniques
25c
iFO».6SGM 35c
ON THE LIBERACE SET with the production team of Guild Films Co.
That’s Chief Cameraman Mack Stengler at right with pipe. The
Liberace Show is seen on 232 stations throughout the country.
“THE CONSISTENCY OF DU PONT FILM is so good
that we’re never aware of changing from one batch
to the other,” says Mack Stengler to Assistant Gene
Farrell and Du Pont Technical Representative
Holly Moyse.
“TAKE A LOOK,” says Mr. Stengler as he passes
viewing filter to Duke Goldstone, West Coast Exec¬
utive Producer for Guild Films. Mr. Goldstone has
this to say, “Du Pont Film is tops . . . we’ve used it
exclusively for three years.”
"Our first takes are generally our final takes—
thanks to dependable DuPont Film and service”
says Mack Stengler, ASC, Chief Cameraman for Guild Films Co., Inc.
“Speed? It’s terrific in our business. We
haven’t time to re-do a sequence because of
poor negatives . . . and that’s where the
quality of Du Pont Film counts.” So says
Chief Cameraman Stengler of Guild Films
Co., Inc., one of Hollywood’s most success¬
ful TV production companies.
“Du Pont ‘Superior’ 2 places practically
no limitations on cameramen. We can work
with complete freedom and use more effec¬
tive lighting than we can with other films.
We normally shoot TV productions just as
we would theatrical films. And, by using
Du Pont Type 824 low contrast positive
film, we are getting excellent prints that
more than meet the high requirements of
television.
“Look at the Liberace set,” continues Mr.
Stengler. “To get a face above these snow-
white drapes is really tough. But, with
DuPont Film, we do this sort of thing every
day. It gives us exceptional latitude and
image quality. In fact, this film gives me
everything I want from the lab right on up.
I’ve been using Du Pont Film since 1926 . . .
I’m sold on it and the service that goes
with it.”
For your television -footage . . . studio,
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the best. Specify Du Pont Film. There’s a
type to meet your exact requirements.
Available in all standard lengths (100 to
2000 feet).
FOR MORE INFORMATION, write or call
the nearest Du Pont District Office (listed
below) or the Du Pont Company, Photo Prod¬
ucts Department, Wilmington 98, Delaware. In
Canada: Du Pont Company of Canada
Limited, Montreal.
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AMERICAN
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
PUBLICATION OF THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
Arthur E. Gavin, Editor
Marion Hutchins, Editorial Assistant Emery Huse, Technical Editor
Editorial Advisory Board: John Arnold, Arthur Edeson, Lee Garmes, Charles
Rosher, Leon Shamroy, Fred Gage, Glenn R. Kershner
Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Calif.
Telephone: Hollywood 7-2135
VOL 36 JUNE • 1955 NO. 6
In This Issue
ARTICLES
The Trend to Wider Motion Picture Negatives . 332
Filming “Blackboard Jungle” — By Herb A. Lightman . 334
CinemaScope Photographic Techniques — By Charles G. Clarke, A.S.C. - 336
A Magnetic Sound Recording Camera — By Arthur Rowan - - - 338
CameraVision — New Video-film System for Feature Production
— By Frederick Foster - - - 340
New Animation and Title Equipment . 342
The Cinematographer and the Independent — By Frank Daugherty ■ - 344
Newsreel Cameraman of the Year — By Leigh Allen .... 347
AMATEUR CINEMATOGRAPHY
Use of Filters in Cinematography — By Charles Coring .... 348
Shooting Double-System Sound With a Single-System Camera
— By Leo Caloia - - - 351
FEATURES
Industry News . 314
Hollywood Bulletin Board . 316
What’s New in Equipment, Accessories, Services . 320
Booklets, Catalogs and Brochures . 326
Hollywood Studio Production . 366
ON THE COVER
CECIL B. DeMILLE directs Yul Brynner as Rameses II and Anne Baxter
as the Princess Nefretiri in a scene for “The Ten Commandments. In back
of DeMille, ready to start the VistaVision camera, is Oscar-winning di¬
rector of photography Loyal Griggs, A.S.C. In left background is Frank
Westmore, makeup specialist.
liiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiim . . . .
g AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. B
B C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. Entered as second class matter M
= Nov- I*. 1937, at the postoffice at Los Angeles, Calif., under act of March 3, 1879. SUB- H
= SCRIPTIONS: United States and Canada, $3.00 per year; Foreign, including Pan-American B
= Union, $4.00 per year. Single copies, 25 cents; back numbers, 30 cents; foreign single H
H copies, 35 cents; back numbers, 40 cents. Advertising rates on application. Copyright 1955 B
§g by A. S. Agency, Inc.
IlllllllllllllllllllllllllllllllllllllllllllllllllllllllIlllllW
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bring theatre -like quality to the 16 mm
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and workmanship, it contains the same
proven features that made MITCHELL
cameras famous throughout the world.
The MITCHELL STUDIO MODEL"BNC” is
a truly silent camera for sound photography.
No blimp is required. Its smooth, positive
operation saves many costly hours of pro¬
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"BNC,” more and more major studios have
made it standard equipment.
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INDUSTRY NEWS
THREE 1st Place honors — for quality, service,
and economy — were awarded to Consolidated
Film Industries in Billboard’s recent TV film
survey. Receiving plaque for CFI are Herbert J.
Yates, Pres, of Republic Pictures (L) and Sid
Solow, VP and Gen. Mgr. of CFI. Lee Zhito (R)
presented award on behalf of Billboard.
“CinemaScope has given the theatres a new
look on a global scale,” says Spyros P.
Skouras, President of 20th Century-Fox, in his
Annual Report — 1954 to stockholders.
“In order that every' CinemaScope produc¬
tion will meet the highest possible standards,”
he continued, “we are pushing forward de¬
velopments of technical improvements in all
parts of the system. These . . . will show
such greatly improved definition on all screens
as to be readily recognized . . . We expect to
be ready to demonstrate these advances to the
trade within a short time.
“This new planning for the improved
CinemaScope system is based upon using a
larger negative image, actually an image
four times as large as the present, with all
that this increased area means in greater
ability to record details of a scene . . . Using
this process, pictures can be photographed on
55mm film and thus capture there all the finer
detail ; they can then be reduced to our
regular CinemaScope standard 35mm film for
serving the vast majority of theatres all over
the world.”
The general trend to wider negative use by
the major studios is the subject of an article
elsewhere in this issue.
★
In preparing to film a television series today,
either for network or syndication release, a
producer should definitely plan to do these
shows in color, says Joe Thomas, president
of Telefilm Studios, Inc., Hollywood.
“Unfortunately,” says Thomas, “too many
people in the industry assume that the techni¬
cal advancement of color for TV will take as
long to perfect as was required for motion
pictures. Actually, we in the business of tele¬
vision film production have had a distinct
advantage; having the experience, knowledge
and know-how of top motion picture crafts¬
men, our technical progress with color has
been greatly accelerated.
“The so-called high costs of shooting TV
films in color is no longer a problem, al¬
though some producers have recently made
statements to the contrary. For example, one
reported that his overall production costs shot
up over 20% when he switched to color
negative. But he was shooting in 35mm. The
trend now is to 16mm for color TV films, and
for obvious reasons: 35mm has been used up
until now in telefilming because most TV
producers, formerly associated with the major
studios, are more familiar with 35mm film and
its equipment.
“While the negative cost difference between
16mm and 35mm in black-and-white is a
negligible factor, in color it is substantial.
One thousand feet of 35mm color film, plus
a work-print, costs $1,000; the equivalent
screen time in 16mm color film plus work
print costs only $80.”
it
A new 16mm film projector for telecasting
magnetic as well as optical sound films was
introduced last month by Bell & Howell Com¬
pany, Chicago. According to the company, it
is the first TV film projector which need not
be electrically locked to the telecast signal.
This means the elimination of an expensive
special motor drive. To telecast a film, it is
only necessary to set up the projector and
press a button.
BENJ. BERG, U.S. distributor of Camerette cam¬
eras (arrow) visited the impressive Eclair display
at the Biennale de la Photo Cinema in Paris last
month, demonstrated new electronic Camerette
finder.
314
American Cinematographer
June, 1955
Auric on
“SUPER 1200” CAMERA
with Full-Frame Reflex Ground-Glass
FOCUSING OPTICAL SYSTEM
The unique and versatile features built into the 16mm Auricon "SUPER 1200”
Sound-On-Film Recording Camera have prompted Producers and Cameramen
to name the Super 1200 .. ."Finest 16mm Sound Camera ever built!” This
Camera is “Self-Blimped” for whisper-quiet Studio work, has 33 minutes of
continuous film capacity, Variable-Shutter or Kinescope “TV-T” Recording
Shutter, plus the combined "Rifle-Scope” Telephoto Finder and Reflex-
Focusing Optical Systems illustrated below. Its only equal is another Auricon
"Super 1200”. . .
IN USE FOR FULL-FRAME GROUND-GLASS FOCUSING
“Super 1200” Reflex Ground-Glass Focusing-Frame indicates the field covered
by any focal-length lens at all distances. A 10X enlarged Ground-Glass image
is seen by the Cameraman, for needle-sharp critical focusing.
IN USE AS TELEPHOTO-FINDER DURING FILMING
No Camera-weight shift on tripod legs when moving from focus to film-shooting
position with the “Super 1200.” Camera-body does not shift to focus, or shoot
film, as Optical-System Dove-Tail Carriage is only moving part!
THE CAMERA OF TOMORROW, HERE TODAY! ITS ONLY EQUAL IS ANOTHER AURICON “SUPER 1200"
Model “CM-74B” Features include...
G UAR ANTE E
All Auricon Equipment is sold with
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“Rock-steady” picture and High Fidelity Optical Sound-Track recorded on same film at same
time, with “whisper-quiet” Camera & Sound Mechanism synchronously driven by precision-
machined Nylon gears.
“Super 1200” is Self-Blimped for completely quiet Studio use.
Built-in Electric Camera Heater with automatic Thermostat-Control, provides reliable cold-
weather Camera operation.
Geared Footage & Frame Counter with built-in neon-glow indirect light.
Two independent Finder systems (in addition to Reflex Ground-Glass Focusing through the
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600 and 1200 ft. film Magazines available. Up to 33 minutes continuous filming.
During picture exposure, your film runs through the Auricon “Super 1200” Film-Gate with the
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is guaranteed frictionless and wear-proof for in-focus and scratch-free pictures, regardless
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Hollywood
Bulletin Board
AT MICROPHONE, in photo above, is Sol Halprin, 20th-Fox camera
department head, who chairmanned the ASC’s May meeting. Halprin
made plea for closer surveillance of theatres to promote sharper
projection and thus gain best screen display of the industry cinema¬
tographer’s work. In adjacent photo, Halprin turns mike over to Sid
Rogeli, executive production manager of 20th Century-Fox studio.
Rogell regaled gathering with tales of his experiences over the
years with many of the directors of photography present.
A.S.C’s May Meeting was held at 20th
Century-Fox studios through arrange¬
ments of Sol Halprin, the Society’s vice-
president, who chairmanned the meeting
in the absence of president Arthur
Miller.
Following dinner in the studio’s Cafe
de Paree, Sid Rogell, executive produc¬
tion manager, addressed the assembled
Society members and reminisced on his
associations and experiences with many
of the cameramen with whom he has
worked in the past.
Sol Halprin emphasized the growing
importance of encouraging all who at¬
tend theatres to campaign for better pro¬
jection of motion pictures. He cited re¬
sults of personal surveys in which the
projectionists were found lax in main¬
taining sharp focus.
Following this session, the group
moved to the studio theatre, where Wil¬
liam F. Kelly of the Research Council
introduced Charles Handley of National
Carbon Company, who gave a talk on
the recently developed “yellow flame”
carbon for color photography.
Test footage was screened that showed
typical results achieved with the car¬
bons on interior sets. The color tests
had previously been shot at the various
studios in CinemaScope and Vista-
Vision.
Karl Freund, ASC, who is in Switzer¬
land attending the International Com¬
mission on Illumination as a delegate,
last month was
elected an Hon¬
orary Member
of Delta Kappa
Alpha, honorary
cinema fraternity
of the University
of Southern Cali¬
fornia. Honor
was in recog-
nition of his
“achievements
and contribu¬
tions to the cinema.
Still another honor was conferred on
Freund last month when he was elected
to membership on the Board of Directors
of Marion Electrical Instrument Com¬
pany, Manchester, N. H.
Freund, who is president of Photo Re¬
search Corp., Burbank, is also director
of photography for Desilu Productions.
★
New Active Members admitted to the
American Society of Cinematographers
last month are William J. Storz, New
York, N. Y., and Edward Fitzgerald,
Los Angeles.
Storz, 35 years in the motion picture
industry, has had a long and varied
career in the newsreel, documentary and
feature production fields. He is presently
free-lancing on the east coast.
Fitzgerald, veteran of 34 years in
picture production, is presently at the
Hal Roach Studio, where he has been
directing the photography of various TV
film productions.
★
John Boyle, ASC, last month wound up
the photography on a series of training
films for Texaco.
★
Milton Krasner, ASC, 1954 Oscar win¬
ner for color cinematography (Three
Coins in the Fountain), has been
elected to the Board of Governors of
the Academy of Motion Picture Arts
and Sciences, Hollywood. Together
with incumbent John Boyle, ASC, he
will represent the industry’s cinemato¬
graphers in the Academy. Krasner will
serve for a term of two years.
★
William F. Kelly, technical director of
Motion Picture Research Council, Holly¬
wood, will represent the U.S. at interna¬
tional meetings on cinematography in
Stockholm, Sweden, June 11-16.
FREUND
316
American Cinematographer
June, 1955
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For complete information, visit Telefilm Studios ^
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HOW! "Oscar" Winning SOUNDCRAFT Magna-Striper
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1 Take-up reels
2 Feed reels
3 Splicing elevator
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4 Exhaust fan motor
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8 Binocular microscope
9 Sapphire shoes beneath
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14 Removable partition
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16 Sliding glass doors
How the New 16-mm Magna-Striper
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= ments, ARRIFLEX 35 is in a E
zrz class by itself. Reflex focusing ^
=: through photographing lens ~
while camera is operating — —
==‘ this is just one outstanding ^
= ARRIFLEX feature. =
~ Equipped with bright, right- =:
~ side-up image finder, 6 Vi 2 x =
~ magnification. Solves all par- ~
= allax problems. 3 lens turret. ==
— Variable speed motor built EE
~ into handle operates from =
~ lightweight battery. Tachom- —
~ eter registering from 0 to 50 EE
~ frames per second. Compact, ==
EE lightweight for either tripod EE
or hand-held filming. Takes ^
EE 200' or 400' magazine. Write EE
EE for free folder. EE
— Blimp now available. —
~16mm ARRIFLEX also available. =
H-F Camera Pedestal
Houston-Fearless Corp., 11809 W.
Olympic Blvd., Los Angeles 64, Calif.,
announces a new, lightweight, and
highly maneuverable pedestal for
television cameras. Known as model
PD-7, pedestal weighs but 140 lbs., rolls
easily on rubber-tired ball-bearing
wheels, and will pass through a door
as narrow as 20 inches. TWo types
of steering are available; parallel steer¬
ing for rolling dolly shots, and tricycle
steering for rotation or sharp turning.
Change from one to the other is a simple
operation.
Camera may be elevated or lowered —
while dollying, if necessary — from 34
to 55 inches by means of a convenient
handwheel.
New Office for Frost
Jack A. Frost, specializing in lighting
equipment sales and rentals, with head¬
quarters in Detroit, has opened a new
office in Toronto, Ontario, Canada, at
425 Burnamthorp Road. Jim Fuller is
manager.
Laboratory Services
Video Film Laboratories, 131 West
23rd St., New York 11, N. Y., offer
16mm him producers and cinemato-
raphers complete laboratory services,
using latest type automatic him pro¬
cessing equipment. A new brochure and
price list is available which describes
the wide range of services offered.
Camera Bar Light
Natural Lighting Corp., 632 West Elk
St., Glendale 4, Calif., offers a new
portable bar-light for hand-held motion
picture cameras that utilizes two Air¬
craft lamps. Unit is said to provide
substantial illumination. Lamps are
adjustable to increase or decrease light
beam width. Coupled with use of latest
high-speed films, unit offers newsreel
cameramen ideal source of light for all
shooting conditions. Price is $42.50
less batteries and bulbs.
Sync Motor Drive
PAR Products Corp., 926 No. Citrus
Ave., Hollywood 38, Calif., offers a new
non-sparking synchronous 24 fps motor
drive for Cine Special cameras I and
II. Features include explosion-resistant
starting switch and wall plug. Unit is
designed specifically for use with
cameras in hospital rooms or wherever
explosive atmospheric conditions may
prevail. The unit may also be used with
Bolex H-16 and Cine-Kodak K-100
cameras with special mountings.
Foreign Language Conversions
Interlingual- International, Carmel-By-
(Continued on Page 322)
9
320
American Cinematographer
June, 1955
DEVELOPED ESPECIALLY FOR THE
No movie camera is so well suited for the Zoomar varifocal
lens as the Arriflex 16. It's the ideal combination because:
1 The Arriflex is the only camera with Mirror
Reflex shutter, no external finder is used for the
Zoomar lens . . .
2 You focus and view the scene while actually
shooting — through the Zoomar lens.. .
SPECIFICATIONS
Varifocal Range . . . 25mm to 75mm
Aperture Range . f2.8 to fi6
Focusing Range . 8 feet to Infinity
Built-in Lens Hood/Filter Holder
for Series VII
3 You needn't remove other lenses because the
divergent lens turret permits any two other lenses
to be used with the Zoomar 16-S without optical
or mechanical interference . . . and
4 The vertical lever action of the zoom control is
smoother and more positive than the rotary move¬
ment usually employed.
$57900
Note: The Zoomar 16-S is not inter¬
changeable with the standard model,
nor can the standard model be converted
for use with the Arriflex.
KLIM Gr IP KIOTO CORK.
235 Fourth Ave., New York 3, N. Y.
7303 Melrose Ave., Hollywood 46, Cal.
World Wide Distributors
-j j- j - (R)
A2/uwo>(
Portable Field Power Supply
115-Volt 60 Cycle $450
115-Volt 50 Cycle $475
A 500-watt output location unit which
supplies power for any standard 35mm or
1 6mm camera and Kinevox Recorder.
Battery weighs 62 lbs., generator 72 lbs.
Both are supplied in heavy-duty fibre-covered
cases. Manual frequency control , frequency
meter , two outlets, pov/er switch. Just the
answer for remote location recording problems!
Hundreds in use throughout the world.
Write for descriptive catalog on complete
synchronous recording equipment and accessories
KINEVOX
INC.
KINEVOX BUILDING
116 S. HOLLYWOOD WAY
BURBANK. CALILORNIA
Telephone: Victoria 9-3291
CABLE: KINEVOX, BURBANK
. . . in equipment, accessories, service
( Continued from Page 320 )
The-Sea, Calif., has been established to
provide foreign language conversion of
narrated films, be they sales promotion
or travel films, 16mm or 35mm. Service
includes providing new sound track
masters, translated from the originals.
Organizations’ translators and narrators
are native-born. Narrations in 27
different languages are available. Rate
is $575 per language per 15-20 minute
film, which also includes necessary title
work.
All-Angle Dolly
J. G. McAlister, Inc., 1117 No.
McCadden PL, Hollywood 38, Calif., has
acquired the manufacturing, sales and
rental rights to the original Dual Steer¬
ing, All-angle Camera Dolly formerly
manufactured by Stevens Rentals, Hol¬
lywood. Manufacturing has begun on
additional units which are to be made
available on rental to motion picture
and TV studios throughout the country.
Automatic Screen
Radiant Mfg. Co., 2627 W. Roose¬
velt, Chicago 8, Ill., announces an im¬
proved, low-cost automatic wall and
ceiling screen designed for professional
type installations. Switch operated and
easily installed, it is available in 8 sizes
from 6' x 8' to 12' x 12'. Cable and
operating switch may be had for remote
control.
(Continued on Page 367)
322
American Cinematocraphf.r
June, 1955
A SENSATIONAL NEW PROCESSOR!
at a sensational low price!
Never before has there been a motion picture film processor so
easy to operate ... so completely dependable in quality results
... so reasonably priced! The New Houston Fearless Labmaster
has been specifically designed for TV and film studio use where
fast, quality processing must be achieved on a small budget.
Daylight operating. Completely self contained. In-line design.
Small, compact, can be operated against a wall. All parts acces¬
sible for easy maintenance. This is, without question, the greatest
processor value ever offered. Send the coupon now for full details!
ALL NEW
HOUSTON FEARLESS
LABMASTER
16mm Motion Picture
Film Processor
need location
lighting... fast?
Call on Jack Frost , one of the
nation's largest suppliers of
temporary lighting facilities.
Wherever you are, whatever your
lighting needs, you can depend on
Jack Frost’s expert handling and com¬
plete range of equipment, from a
100 watt inkie to 225 amp arc with
mobile power plants. In the studio
too, we can supplement your present
equipment to meet any situation, any¬
where. We’ve been doing it for years
for many of the top shows.
Our service includes complete installa¬
tion and removal at one low cost.
free estimates
Write or wire for a free estimate and
a Free Catalog of Equipment.
JACK A. FROST
jk
Dept. AMCI
234 Piquette Ave., Detroit 2, Michigan
425 Burnamthorpe Road, Toronto 18, Ontario
1 1 1
Full NEW CAMERA Guarantee ! the World’s largest
stock of motion picture cameras in both 16mm and
35mm sizes means a selection of all types, all focal
length lenses, immediate delivery from stock, and
the lowest prices anywhere for equal quality.
KODAK CINE SPECIAL
AURICON “1200
Fairchild
Fastax
Mitchell
Newell
Wall
De Vry
Eastman
Arriflex
Auricon
Bell & Howell
Bolex
Cine Special
Eastman
Fastax
Maurer
Morton
Pathe
Acme
Akeley
Askania
Arriflex
Bell & Howell
Cameraflex
Cineflex
Cinephon
Cunningham
Debrie
Hulcher
and all camera accessories: magazines, motors, tripods, etc.
ARRIFLEX
Look for the gordon enterprises nameplate on the
camera you buy. It guarantees full NEW CAMERA
condition, possible because all equipment from
Gordon Enterprises is fully rebuilt by skilled crafts¬
men in one of America’s finest air-conditioned instru¬
ment shops. You are invited to visit these facilities.
5362 North Cahuenga Boulevard • STanley 7-5267
North Hollywood • California • U.S.A.
Cable Address: GORDENT
MITCHELL MODEL NC
MITCHELL SINGLE-SYSTEM-SOUND
Sales Manager, Motion Picture Equipment Div.
Gordon Enterprises
5362 North Cahuenga Blvd.,
North Hollywood, California
Please send full information on the following
motion picture equipment:
STREET
gordon enterprises
16MM MAURER
CITY
.ZONE —STATE
CINEFLEX 35MM
WdSfc&'i IP '* S3&
ONE CAMERA
16mm or 35mm
in 10 SECONDS!
Camerette '635
Reflex Motion Picture Camera
The perfect camera for the motion picture film
maker working in both 16mm or 35mm color
•r black and white.
LOOK AT THESE ADVANTAGES —
• The same lenses, same motor drives, same
sound blimp and accessory equipment used
for both 16mm or 35mm — to convert simply
change the magazine.
• Precise rugged movement
• Reflex viewing
• 200 degree adjustable shutter
• Divergent three lens turret
• Automatic film gate 400' magazines 16 or
35mm — the 1 6mm magazine will accom¬
modate daylight spools as well as standard
core load.
• Light weight — only 14 pounds with 3
lenses, 400' magazine, and 6/8 volt motor.
Write for brochure
patents coutant-mathot
Manufactured by Ets. Cine. Eclair, Paris
Booklets Catalogs Brochures
available from equipment manufacturers
Data Sheets
Photo Research Corp., 127 Vest
Alameda St., Burbank, Calif., now has
available data sheets on the company’s
Spectra 3-Color meter, Spectra Color
Densitometer, and the Spectra Bright¬
ness Spot Meter.
Photolamp Manual
A new manual covering the technical
aspects of the various products used in
the photographic lighting held has been
issued by Sylvania Electric Products,
Inc., 1740 Broadway, New York 19,
N. Y. Some of the subjects covered
in detail are photoflash, photoflood, re-
flectorflood, projector, enlarger and
darkroom lamps. Special charts give
data on color temperature, light output,
and shutter speeds and an exposure in¬
dex. Manual is published in looseleaf
binder form. New technical sheets are
to be issued periodically. Price is $2.00.
Kodak Handbooks
Kodak Books and Guides is title of
newly-revised Kodak publication de¬
scribing the many helpful booklets, bro¬
chures and books on photographic sub¬
jects available from the company by
amateur and professional photo¬
graphers. Available without cost from
K o d a k’s Sales-Service Department,
Rochester 4, N. Y., the pamphlet in¬
cludes descriptions of the general con¬
tents of Vols. 1 and 2 of the well-known
Kodak Reference Handbook on black-
and-white photography, and of the
Kodak handbooks dealing with other
fields of photography. All of the pho¬
tographic guides and charts which the
company offers are also illustrated and
described.
ASA Film Ratings
A new edition of the popular ASA
Film Speed Values booklet has recently
been published by Carl Zeiss, Inc., 485
Fifth Avenue, New York 17.
Booklet provides up-to-date film speed
values for all popular films used in the
U.S., black-and-white and color, still and
cine. For those using systems other
than ASA, a conversion table is pro¬
vided showing equivalents in DIN,
Weston, Scheiner, etc.
Data on New Auricon
A comprehensive data sheet illustrat¬
ing and describing the new Auricon
Pro-600 model CM-75 16mm sound
camera is offered by the manufacturer,
Berndt-Bach, Inc., 6900 Romaine St.,
Hollywood 38, Calif. All of the exclu¬
sive features of this new camera are
graphically illustrated, permitting a
thorough “arm-chair” appraisal of the
equipment. Included is a price list of
the camera an dassociated equipment.
Lens Booklet
There’s a free booklet on lenses all
amateur movie makers should have,
whether your camera is 8mm or 16mm.
It’s Kodak’s Lens Book CI-6 — and, if
your dealer doesn't have it, write to
Sales-Service Dept., Eastman Kodak
Co., Rochester 4, N. Y.
Variable Shutter Data
How a variable shutter may be in¬
stalled in 8mm and 16mm Bolex
cameras is the subject of an interesting
booklet available from Tullio Pellegrini,
1545 Lombard Street, San Francisco 23,
Calif.
Camera Data
Descriptive literature is now avail¬
able from Benjamin Berg Company,
1410 No. Van Ness Ave., Los Angeles
28, Calif., on all models of Camerette
cameras, also on the new blimp for the
Camerette. Of interest is the illustrated
description of the novel reflex view¬
finder which enables user of the Camer¬
ette to see the scene as it is actually
being photographed by the camera.
Service Catalog
A catalog describing all of the equip¬
ment and services available on rental
from Charles Ross, Inc., is available
free to those in the industry by writing
the company’s service department. 333
West 52nd Street, New York 19. N. Y.
THE LITERATURE described above
contains a wealth of valuable data
for the cinematographer and others
in the film industry. Unless other¬
wise indicated, copies are free.
Requests should be addressed
directly to the company named —
not to American Cinematographer.
— EDITOR.
326
A M ER IC A N Cl N EM ATOGR APHER
June, 1955
CAMERETTE
Now Available with Two
Important New Features!
★ Adapted for CinemaScope
★ Sound Blimp with Reflex Viewing
Now for the first time — a lightweight camera for CinemaScope photography — the
35mm Camerette with CinemaScope aperture, with full CinemaScope field visible
through the reflex viewer. Auxiliary turret and matte for regular photography.
New magnesium alloy blimp with viewing through the taking lens at all times through
the Camerette’s reflex finder, making a lightweight, fully blimped combination 16mm
or 35mm camera. Synchronous motors — -110-v single phase, 220-v three phase.
ONLY THE CAMERETTE HAS
W rite for descriptive literature
BENJAMIN BERG COMPANY
1410 N. VAN NESS AVE. • HOLLYWOOD 28, CALIF. • Hollywood 9-8023
Reflex viewing through the
lens at all times for both film sizes
taking
Patents Coutant-Mathot
Manufactured by Eclair, Paris
Ability to use both 16mm and 35mm
film in one camera.
Sound blimp with reflex viewing,
making a fully blimped, instantly
interchangeable 16mm or 35mm
camera.
The maze -of details involved in expert film processing presents no problem at Preci¬
sion. Skilled technicians, exclusive equipment, and expert research groups team up constantly
to keep performance at the highest possible level. Precision-processed film is recognized by
industry leaders —producers, directors, cameramen— as the finest in the field .
Just one example of advanced film printing methods is the individual Printing Control Strip
technique -available only at Precision. This Strip permits complete printing control without
notching or altering the original film in any way -and may be filed for later precise duplication .
In everything there is one best... in film processing, it’s Precision.
A division of J. A. Maurer, Inc.
Write for free illustrated “Auric on Pro-600 " literature and price schedule
SPECIAL OFFER to AURICON-PRO OWNERS
S.O.S. will accept your old camera as a trade-in for
the “All New Auricon Pro-600”. Time Payments, Too!
• Sprockets cut to close tolerances
• Veeder-Root Counters & locking device • Frame dial
• Highest quality precision workmanship • Cast aluminum machined
• Built for heavy day-in day-out use O Instant Pad Roller Release
Complete line includes standard and special arrangements
for 16mm and 35mm magnetic or optical sprocketed film.
DOII'T MUTILATE TOUR FILM
SIS. 16mm ACTION VIEWER
Projects An Aerial Image
PRICES START AT $1165
ONLY $124.95
In Combination with
Sound Reader and Base,
from . $337.45
© BIG, BRIGHT, IMAGE, 3" x 4"— no flicker.
• No excess heat on film when still.
• Coated Optical Prism Magnifying Viewing Glass.
Can be viewed in lighted room,- no ground
glass. Comfortable viewing distance at 10" to
14".
• Self-lubricating bearings, no oiling.
• Simple 5-second threading.
© Individual Framing & Focusing Controls.
O Hi-Power projection lamp — easily replaced.
• Lamp adjustment control for maximum illumina¬
tion. Film may be rewound without passing
thru viewer. Operates in conventional manner
— left to right.
© Built-in Cue Marking Device.
O Built of Rugged Aluminum Alloy: 16" x 10" x
12"; Weighs but 9 lbs.
"Auricon Pro-600" with Single-
Lens “C” Mount, Tele-Finder
Objective, View Finder, Magazine
Jr Self-blimped for completely quiet stu¬
dio operation. The whisper-quiet film
flow of The “Auricon Pro-600' ' is
silent proof of precision design. Your
sound-recording microphone never
picks up “Pro-600’ ' Camera noise!
Jr 600 ft. film Magazines with Auricon-
Electromatic Take-up, for 16 minutes of
continuous “Talking-Picture" filming.
Jr Synchronous Motor Drive for “Single-
System" or “Double-System” Re¬
cording.
Jr Available at added cost is “Single-
System" equipment for Optical Sound-
Track-On-Film, “C-mount“ Lenses,
Film Magazines, View-Finders, 3-Lens
Turret, Critical Ground-Glass Focusing,
Lens Sun-Shades, Tele-Finders, etc.
Jr Sold with 30 day money-back guar¬
antee, you must be satisfied!
HOLLYWOOD HFC
SYNCHRONIZERS
Simplifies the
task of checking
titles, footage.
Replaces cue
marks, perfora¬
tions, messy cray¬
ons, punches, em¬
bossing and other
unsatisfactory
methods which
mutilate film.
Work prints
showing special effects, fades and dissolves require edge numbering to keep
count of frames cut or added. Multiple magnetic tracks in CinemaScope,
Stereophonic Recordings make edge numbering a MUST. Write for illustrated
brochure.
With New Improved Non-Clog Inking System, $2475
Present Mo y owners can easily install the new and improved inking system!
Professional
Picture Camera with
Built-in Features
“ Auricon Pro-600 " with Lens
Blimping Hood, Auto Parallax
Finder with Magazine, Tripod
"Auricon Pro-600" with Critical
Ground-Glass Focusing, 3-Lens Turret
2 Gang 35mm
*125
The AAOY edge
numbers every
foot of 16,
171/2, 35mm film
The One-Stop
The Moy
Visible Edge Film
Numbering Machine
S.O.S. Has YOUR BEST DEAL
ON
The ALL IMEW
AURICON PR0-600
flor 16mm Optical Sound - On -Oifm
' The Department Store of the Motion Picture Industry'
S.O.S. CINEMA SUPPLY CURP.
602 WEST 52nd ST., NEW YORK 19, N.Y.
Phone: Plaza 7-0440 Cable: S0S0UND
]
Manufacturers and
Distributors of;
Bloop Punches
Cans, Film Strip
Editing Tables
Film Bins
Film Racks
Flanges
Film Editing Gloves
Leader Stock, 16 & 35 mm
Measuring Machines
Plastic Cores, 16 & 35 mm
Reels, 16 & 35 mm
Reels, Non-Magnetic
Split Reels
Rewinds
Sound Readers
licers
Storage Cabinets
Vault Cans
Scotch Tape
Cloth Tape
Sound Recording Tapes
HOLLYWOOD
m
956 NO. SEWARD ST.
HOLLYWOOD 38, CALIF
FILM COMPANY
■jmr ■ - ■
mm m m m ■
HO-23284
F & B PRO CINE — MOST
TRIPOD IN THE
MEDIUM WEIGHT CEASS
FOR ALL CAMERAS
Does your tripod include these
exclusive PRO CINE features?
A. External camera tightening knob with angle gears
B. Telescoping, offset tripod handle
C. Second tripod handle position
D. Large positive pan and tilt locks
E. Brass shaft for longer wear, no sticking
F. Separate, precision machined friction plate
G. Aluminum leg tops — no holes drilled thru wood legs
H. Four bolted leg supports with leg rest ledge
I. Single knob leg tightening — for even tension and no warping
J. Will never stick. Superb, seasoned and waxed hardwood legs
Finest Precision Craftsmanship and Materials
FRICTION HEAD UNCONDITIONALLY GUARANTEED FOR FIVE YEARS
MADE IN U.S.A.
EXCLUSIVELY BY F&B
Price $135.00
Heavy Duty Fibre Case $20.00
Available direct
or at leading camera dealers
HOLLYWOOD FILM CO.
SYNCHRONIZER
GUARANTEED FINEST PRECISION
WORKMANSHIP
16 or 25 mm
2 gang
$125
3
158
4
190
5
225
6
Combination
250
1-16 & 1-35
185
2-16 & 2-35
250
IMMEDIATE
DELIVERY
MONEY BACK
GUARANTEE
NEW F&B
(INE CONVERSION
COMPLETE EQUIPMENT
RENTAL PRICE LIST —
16 Pages
Pocket Size
Have at your finger-tips everything
you need to know about the cost of
renting equipment for:
Production
Projection
Recording
Lighting
Editing
Use the F&B pocket rental guide for
simple accurate budget estimates.
Producers, directors, unit managers
and school organizations say they
wouldn't be without it.
Yours free for writing.
ANOTHER F&B SERVICE
Cine-Voice
600'
Conversion
More than 15
minutes continu¬
ous filming. The
only conversion offering Film Movement Sta¬
bilizer for top quality sound.
Price $425 Complete
INCLUDES:
600 magazine
Dual footage counter
External noise free take-up motor
Stabilizer insert
Adjustable friction clutch
Complete installation
ONE YEAR GUARANTEE
FLORMAN & BABB
70 West 45th Street, New York 19, N. Y.
Phone: Murray Hill 2-2928
Cable Address — FLORBABB, N.Y.
The Trend To Wider Motion
■ | istory, as it always does, is repeating
** itself, and today we find the Holly¬
wood motion picture industry again in the
throes of new technical developments —
this time the use of wider film negatives.
Some old-time technicians in the industry
might very well say, ‘‘This is where we
came in,” or more appropriately, “This is
where we left off — in 1930.”
Only last month industry trade papers
carried front page news items almost daily
reporting on the activities of first one
studio then the other toward the swing
to the “Grandeur-type” negative. The Hol¬
lywood Reporter, for April 22nd, carried
an item headlined “55.625mm Cinema-
Scope Film Being Shown in Two Months.”
On April 27th, Daily Variety’s front page
headline stated “Metro to Film Top Pix
in 65mm.” The following day, Hollywood
Reporter’s banner line announced, “20th
Roadshowing 55mm Pix.”
During the SMPTE convention in Chi¬
cago last month. Earl I. Sponable, research
director for 20th Century-Fox, announced
that his studio was considering making a
limited number of release prints of some
special pictures for roadshows in a larger
projection frame area. The proposed new
frame, he said, would be 55.625mm in
width and would have almost twice as
much “information recording surface as
any other suggested large-screen process.”
Working with 20th-Fox, he said, was
Bausch & Lomb who had already delivered
the first sample lens to cover the additional
area. It is understood that an experi¬
mental camera taking the new size wide
film has also been built by Fox engineers.
Panavision, Inc., under the direction of
Robert E. Gottschalk, reportedly has de¬
veloped the Panatar 65mnr camera for use
by Metro-Goldwyn-Mayer studios. This
camera utilizes 65mm negative, same as
used by the Todd-AO cameras.
According to Mr. Gottschalk, the Pan¬
atar camera employs an anamorphic lens
having one-half the “squeeze” power of a
CinemaScope lens, or 1.4. Additional ana¬
morphosis is employed in printing the
negative in order to bring the print up
to the full standard CinemaScope ratio.
The advantage claimed for this two-step
process is that by using a less-powerful
anamorphic lens in the shooting, and by
producing the anamorphization in two sep¬
arate steps, there is less curvature, barrel
distortion, and astigmatism in the optical
result.
An alternative method of using the Pan¬
atar 65mm camera is also proposed. This
is to shoot without an anamorphic lens on
the camera, then use an anamorphic lens
on the printer to squeeze the 65mm nega¬
tive image into the standard 35mm Cinema¬
Scope film frame.
Except for the application of Cinema¬
Scope to wide-negative photography, all
the current wide-film developments dupli¬
cate to some extent the work done by
studio engineers about 1930.
Paul Allen, prominent Hollywood cam¬
era engineer, covered the subject rather
thoroughly in an article titled “Wide Film
Development,” which appeared in the
“Cinematographic Annual,” published in
1930 by the American Society of Cinema¬
tographers — a publication long since dis¬
continued. For the edification of readers,
the greater part of this article is being
reprinted in this issue, beginning in the
next column.
“10-HOLER" — Providing a negative having a picture area 10 sprocket holes in width
is a yet-unpublicized new camera developed by John Arnold at M-G-M Studios. Film
travels through camera horizontally, same as in VistaVision. Camera also provides
interchangeable film movements so that pictures 8, 6, or 4 frames in width may be
photographed, as desired.
*
+
*
GRANDEUR — The first successful development in
, this century in wide-frame negative, created
by Fox (now 20th Century-Fox) in 1929. (There
were others prior to 1900). The Grandeur cam-
eras were built by Mitchell Camera Corp.
*
Editor's Note — -The following is a condensa¬
tion of a summary on wide film developments
during the years 1929 and 1930, as reported
by Paul Allen, a cinema equipment engineer,
in the “Cinematographer’s Annual” for 1930.
*
*
One Of The outstanding developments
^ of the past year in the motion picture
industry has been the introduction of
wide film. Even the advent of sound
\L.
created no greater flurry of excitement
than has the wide film problem. And
* now, even though the public has been
permitted to view one of the results,
* no one seems to have any definite idea
as to what the future will bring forth
* in the way of a standard size film. One
thing seems certain — that we will have
jf a standard film wider than the present
standard of 35 millimeters. What the
^ ultimate width will be is a problem.
Advocates of the 70 millimeter Fox
^ Grandeur are proclaiming that width as
the perfect one. But there has been a
considerable swing to the idea that 65
millimeters will be the ideal width for
the new standard. However, there is
* quite a move on foot at this writing to
bring about a compromise on a standard
* width of 68 millimeters.
Perhaps it would be proper at this
ik- point to briefly sketch the early history
332
American Cinematographer
June, 1955
□ □□□□!□□□□□□
Picture Negatives . . .
Studios have made many false starts
in this direction in the past but now
it looks like they’re really on their way.
of wide film, because, while the
majority of people think wide film is
something new, it is, in reality, a re¬
vival of what took place far in the past.
This is a natural conclusion to draw,
however, because the standard width of
film, 35 millimeters, has become so
widely accepted that one often hears
of it as the only standard of measure
which is common to all nations.
Today producers are surrounded by
a veritable chaos, as far as film width
standard is concerned. And so it was
back in the nineties. Today the pro¬
ducers realize that a larger film must
come in the not distant future, and
65MM — Actual size of 65mm negative used in
the Fearless wide-film camera developed about
the same time as Grandeur.
naturally, there is an effort being made
to find a width which will be fixed as a
standard. In the nineties the same
situation existed, and film was being
used which ranged in width all the way
from one-half inch to 70 millimeters.
At present, extensive work is being
done on the Fox Case Grandeur in 70
millimeters; Spoor-Bergren in 63 milli¬
meters; still another is 56 millimeters,
and Ralph Fear of the Fearless Com¬
pany has brought out a new camera for
photographing on 65 millimeter film,
which one big picture company is now
using in a production. Several of the
other large studios are said to be turn¬
ing a very favorable eye towards this
width.
While there has been much in a
general way published regarding these
various width films, the producing com¬
panies apparently have been somewhat
reluctant to give much detailed and
authentic information. From Para¬
mount, where experiments have been
conducted in 56 millimeters, there is
practically no information available.
RKO has issued much publicity regard¬
ing contemplated use of the Spoor-
Bergren 63 millimeter film, but recent
rumor has it that this concern is
planning to take up the 65mm size.
However, there is a little more infor¬
mation available regarding the 70 milli¬
meter film of the Fox Grandeur. The
company has already presented this
width to the public, and as a result of
this and the advantages shown in the
use of a film wider than the present
standard of 35 millimeters, it is pretty
generally agreed that a wider film than
the 35 millimeter will be evolved out of
the chaos.
In the case of Grandeur, the Fox film,
the width of the film itself is 70 milli¬
meters; while the frame is 22^2 milli¬
meters x 48 millimeters; leaving a
sound track 7 millimeters wide in the
customary position at the left of the
picture.
The only difference between the
r»l' dS ('1AMT2A3
VISTAVISION — Developed by Paramount Pic¬
tures, VistaVision marks the first use in feature
film production of negative running horizontally
through the camera to provide an aperture
wider than that of conventional 35mm film.
VV is 8 sprocket holes in width.
normal film stock and that of the
Grandeur is that the latter is cut
in wider strips and the perforations are
of a slightly different pitch. Eastman
is the only firm at present making the
70 millimeters width film, and the only
perforators for this width film at this
writing are found in the Eastman plant
at Rochester.
The cameras used are made by the
Mitchell Camera Company and are
available on the open market. They are
simply the standard Mitchell Camera
enlarged laterally to accommodate the
wider film. Wherever possible the parts
are interchangeable with those of the
35 millimeter, and this feature has
proved so popular that this is being
done in a surprisingly large number of
cases.
The most outstanding changes are
found in the shutter, which had to be
made practically double the size of the
old one, and in the actual film-moving
mechanism. The gears of the Grandeur-
Mitchell are cut differently, as the pitch
of the Grandeur perforations is approxi¬
mately .231" against a pitch of .87"
for the 35 millimeter standard. In all
other respects the 70 millimeter Mitchell
is identical with the 35 millimeter
model. Special Grandeur lenses having
a greater angular covering power are
used.
Grandeur projectors are being manu¬
factured by the International Projector
Corporation, and many of the major
Fox theatres are being equipped with
them, and according to the present plans
of that organization, all the Fox houses
will ultimately have this equipment.
What are the advantages of a wider
film ?
( Continued on Page 368)
TODD-AO — Cameras use 65mm negative, which
is printed on 70mm film that provides space for
sound track. Success of Todd-AO has rekindled
interest in other studios in the use of wider
area negatives.
American Cinematographer
June, 1955
333
MUCH OF THE action in “Blackboard Jungle" takes place in school
classrooms, and the photographic problem was to shoot these
scenes so that dialogue could be exchanged between students in
the front and those in the rear seats, without resorting to multiple
cuts or re-focusing on each player as he spoke. Here, use of
Tri-X enabled cameraman Russell Harla 1 to stop down the lens to
gain the necessary depth of field to keep all in sharp focus.
— All photos courtesy Metro-Goldwyn^Mayer.
Filming 'Blackboard Jungle"
The new Eastman Tri-X negative was ideally suited to the
photography of this dramatic
essary to gain the maximum
By HERB A .
r ' Q lackboard Jungle,'’ M-G-M’s hard-hitting, highly
D controversial drama of juvenile delinquency, represents
a significant step forward for the motion picture industry in
that it is the second major studio feature to be photographed
almost entirely in the new Eastman Tri-X Panchromatic
negative.
I his ultra-fast emulsion was selected for use in filming
' Blackboard Jungle" because of an unusual technical prob¬
lem arising out of the dramatic demands of the situations
to be portrayed. A majority of the action in the film takes
place in high school classrooms, and director Richard Brooks
production where it was nec-
depth of field on most shots.
LIGHTMAN
wished to stage that action so that dialogue could be ex¬
changed between the students in the front and those in the
rear seats, without resorting to multiple cuts or re-focusing
on each player as he spoke.
To handle such situations all in one composition called
for unusual depth of field in order to insure the sharpness
of both extreme planes of action. To stop the lens down
far enough to create this depth of field and using ordinary
medium-speed negative materials such as Eastman Plus-X
.or Dupont Superior 2, it would have been necessary to
use a tremendous amount of light. The alternative was to
334
American Cinematographer
June, 1955
use the new high-speed Tri-X so that the lens could be
stopped down sufficiently while using a very small amount
of light.
Director of photography Russell Harlan, A.S.C., found
that f/5.6 was the stop at which a maximum depth of field
was achieved. In other words, stopping the lens beyond that
point resulted in very little material increase in depth of
field, so f/5.6 was the stop used generally throughout the
picture. With the Tri-X emulsion it was possible to shoot
at this aperture, using a level of illumination varying be¬
tween 100 and 125 foot-candles. Harlan further alleviated
his depth problem by using a 30mm wide-angle lens on
all interior sequences.
Before the new negative was approved for the produc¬
tion, Harlan made extensive tests. One of these included
a closeup of a girl lighted with a single candle on the table
before her and with a spot rim-lighting her hair The re¬
sult was so impressive that director Brooks was completely
sold on the idea of using the emulsion.
"Blackboard Jungle," because of its violently dramatic
character, is essentially a low-key picture calling for con¬
trasty lighting and a high percentage of shadow area. Or¬
dinarily, in using a high-speed film, the result would be
flat, lacking in snap, with the shadow area blocked in solid
with grey devoid of either depth or detail. The Tri-X nega¬
tive permitted rich low-key photography, even with a
stopped down lens. It "reached into the shadows” to record
detail and gave a luminous quality to what might other¬
wise have been a colorless, grey result. There is depth and
modeling in the photography that lends a third dimensional
quality instead of the cardboard cut-out effect that often
results when a high-speed negative is used.
The interior of the high school used in "Blackboard
Jungle" is actually one large combined set on a single
sound stage, including all of the classrooms (both upstairs
and downstairs) in their proper spacial relationships. This
layout saved excessive moving about of equipment and per¬
sonnel and enabled Harlan to set up and light sequences in
about half the normal time.
Night exteriors in the film are especially well-handled
and a great deal of depth was achieved with very little
light, permitting compositions having a great deal of scope.
All of these scenes were shot on the studio back lot under
controlled conditions — but by using Tri-X Pan for night
sequences shot in actual locations it was possible to shoot
average street scenes at night by available light; that is,
without the need for booster illumination. No arc lights
were used in filming "Jungle" (nor were any necessary)
except for effect shots, such as sunlight coming through a
window.
Because the Tri-X negative produces such remarkable
shadow detail, less fill light was required and a correspond¬
ing amount of time was saved in lighting. In commenting
on this, Russ Harlan observes: “To give you an idea of
the speed with which we shot, I might mention one se¬
quence filmed on location in a high school auditorium
packed with about 600 students. We worked with very
few lights. Starting at 9:30 in the morning, we were fin¬
ished at 10:45 and back in the studio for lunch — some¬
thing of a record, in view of the fact that if we had been
shooting with ordinary black-and-white film the sequence
would have taken a full day or longer to shoot.”
Tri- X Pan negative was used exclusively in filming
“Blackboard Jungle,” except for about 1,000 feet of sun¬
lit exteriors when Plus-X film was used. However, one inci¬
dent which occured sharply illustrates the versatility and
range of the new Tri-X emulsion. A sequence shot in the
street exterior set on M-G-M's back lot was filmed in sun¬
light at f/6.8 using Plus-X film. Sometime later, retakes
on the same sequence became necessary and the crew re¬
turned to the same location on a cloudy, overcast day.
Using the Tri-X film and an aperture of f/8, Harlan was
able to perfectly match the new scenes with those pre¬
viously shot on Plus-X.
Another striking proof of the latitude and range of Tri-X
negative is evidenced by the fact that the classroom se¬
quences usually involved about 30 students of varying com¬
plexions. There were blonds, Negroes, deeply-tanned Puerto
Ricans, etc. With Tri-X, Harlan said, it was possible to get
a correct rendition of such scenes with less trouble than is
normally encountered when other types of black-and-white
(Continued on Page 358)
THE FEW EXTERIORS in “Blackboard Jungle” were shot on Plus-X
and matched perfectly with the Tri-X interior footage. Here director
of photography Ken-.eth Harlan, ASC, lines up his camera during a
rehearsal of action by Glenn Ford and Anne Francis.
- w.
t
THE CIOSEUPS in "Blackboard Jungle” dispel the contention held by some
that satisfactory closeups cannot be made with a superspeed negative film.
Glenn Ford is shown here in a dramatic scene with Vic Morrow.
American Cinematographer
June, 1955
335
CinemaScope Photographic Techniques
By CHARLES G. CLARKE, A.S.C.
Editor's Note: Author Clarke, who is one of Twentieth Century-Fox's top directors
of photography, has photographed more film in the CinemaScope process, perhaps,
than has any other cinematographer in the industry. His knowledge of and
experiences with the popular wide screen medium is set down here for the
benefit of other cinematographers. The text with illustrations also is being pub¬
lished in booklet form by Twentieth Century-Fox Studios.
Whenever any new technique is
introduced, it is frequently human
reaction to view it with a certain amount
of reservation and doubt. Probably this
is the result of our becoming so accus¬
tomed to the previous and older methods
that we approach new concepts hesi¬
tatingly. The CinemaScope technique
of making motion pictures with stereo¬
phonic sound has met, to a limited
degree, this reluctance to accept new
ideas. I know this from experience, be¬
cause in the course of filming Cinema¬
Scope during the past two years, here
and in Europe, I have been asked many
questions which indicate to me that the
questioner is thinking in terms of apply¬
ing the older technique to the newer
medium. Also, many inquiries resulted
from the usual host of misconceptions,
misunderstandings and false informa¬
tion which invariably surround new and
challenging developments.
In my talks with producers, I gather
that many feel that the CinemaScope
method is more expensive to use on pro¬
duction. More than one hundred films
have now been made in this medium
and it has been established that produc¬
tion costs are no greater, and in most
cases less, than if the picture had been
made in the older methods.
CinemaScope provides a presentation
which simulates the wide angle exper¬
ience of human vision and because of
this most scenes can be staged with
fewer cuts and camera angles than were
formerly necessary. This is a big
economic saving because the additional
angles required by the older technique
were time-consuming, and as a result,
costly to make.
Another misconception is that the size
of the sets for CinemaScope productions
must be larger. Perhaps I can point
out why. With CinemaScope, sets
usually call for less construction, but to
explain this I had better start at the be¬
ginning and first explain the Cinema¬
Scope optical system.
As most readers know, the Bausch &
Lomb CinemaScope attachment lens it¬
self is an optical unit that fits in front
of any ordinary motion picture camera
lens. (See Figure 2.) It follows that
it can be used with any 35mm camera
and with many of the lenses that are
normally used with that camera. What
the CinemaScope attachment actually
does is to take in an angle of vision,
horizontally, two times that which the
camera lens does without the attach¬
ment; the vertical angle of view is not
changed. The picture seen by the lens
combination is photographed in the
camera through an aperture 23.80mm
by 18.67mm in size.
\X hen this attachment is used, for
example, on a 50mm lens, the height of
view remains the same but the width of
view is similar to that obtained had a
25mm lens been used. The combination
“CINEMASCOPE provides a presentation
which simulates the wide angle exper¬
ience of human vision,” according to
author Clarke (taking meter reading in
photo at left), “and because of this
most scenes can be staged with fewer
cuts and camera angles than were for¬
merly necessary.”
of the CinemaScope attachment on the
camera, the camera aperture, the pro¬
jector CinemaScope attachment and the
projector CinemaScope aperture results
in a picture on the screen which is
approximately 2 !/£> times as wide as it
is high. These same proportions follow
with any of the other photographic
lenses.
Although the principle is the same,
our newer lenses combine the functions
of the conventional camera lens and the
CinemaScope attachment in one housing
and the complete arrangement has been
designed as one optical system for opti¬
mum performance. Such a lens,
mounted on a camera, is illustrated in
Figure 3. Figure 1 shows the various
Bausch & Lomb CinemaScope lenses
now available. There are the 35mm,
40mm, 50mm, 75mm, and 100mm. In
addition there recently became avail¬
able a 152mm lens, which is particularly
suitable for background projection plate
photography.
In normal practice the usual lenses
used are the 40mm and 50mm, and
other lenses are used for the same
reasons that they are employed in
regular photographic practice — the
longer lenses being used for closeups,
telephoto effects and the like. With this
understanding of the lenses, and the
following examples, it will be clear that
sets need not be built as high nor any
wider than formerly.
For instance, let us imagine that we
want to photograph a small office set.
With the older method we would have
probably used a 25mm lens in order to
keep within the walls. Suppose the
action required a person to enter from
a door in the foreground and go toward
the rear and sit down at a desk. With
the old technique, a ceiling piece would
probably have been required to back up
the person when in the foreground, and
the camera would pan to hold on the
desk.
The same scene when filmed in
CinemaScope, although photographed
from approximately the same set-up
with a 50mm lens, would not require the
ceiling, as the vertical angle of the scene
is now less; however, the horizontal
angle is the same as before. Rather than
pan the camera to hold the character
center, we would likely stay fixed and
take advantage of stereophonic sound
recording to enhance the actor move¬
ment as the sound moved with him in a
natural way. Furthermore, the size of
the figure in the rear of the set would
not be so diminished because of the
perspective drawing of the 50mm lens
used as compared to the 25mm lens in
the older method, therefore making it
unnecessary to shoot a closeup angle. If
it were the intention in the scene to get
closer to the person at the desk, we
could dolly in a little. There would be
(Continued on Page 362)
r
FIG. 2 — The early Bausch & Lomb CinemaScope
“attachment” lens above was an anamorphic unit
placed in front of the regular camera lens.
FIG. 3 — Showing the modern Bausch & Lomb
CinemaScope lens mounted on a 35mm motion
picture camera. It combines in one unit the regular
camera lens plus the anamorphic lens system neces¬
sary to CinemaScope wide screen photography.
FIG. 1 — The original CinemaScope “attachment” lens has given way to the newer com¬
bination single-unit lenses pictured below. There are five of them: a 35mm, 40mm, 50mm,
75mm, 100mm, and a 152mm not pictured. The 40mm and the 50mm lenses are the
most widely used.
aifa.
, m m
4-0 tn m
' IQO m to
It,
35 tti m
American Cinematographer
June, 1955
337
FIG. 1 — Blimp cover is removed to show the magnetic recorder unit of the
Arricord-35. Sound is recorded on 17V2mm oxide coated perforated film,
which travels at same speed as the camera film — standard sound speed.
FIG. 2 — Arricord with blimp closed. Camera
starting switch may be seen mounted on the
pan-handle at left.
A Magnetic Sound Recording Camera
Picture and sound are recorded simultaneously on two
separate films with the Arricord-35, which features
a compact, built-in magnetic sound recording unit.
y ARTHU
When Magnetic tape recording became a reality,
among those who envisioned its application as an in¬
tegral part of a motion picture camera was Arnold & Richter
of Germany, manufacturers of the well-known line of Arriflex
motion picture cameras. Recently, this company introduced
the first practical “single-unit” double-system picture and
sound recording camera. Trade-named the “Arricord,” the
35mm version was recently demonstrated before members
of the American Society of Cinematographers by Dr. Robert
Richter, head of Arnold & Richter, and Paul Klingenstein,
of Kling Photo Corporation, New York. U. S. distributor
of Arri equipment.
The Arricord 35 is a combination of the latest Arriflex
35mm Model 1 1 A camera and a magnetic recording unit
w hich uses perforated lTl/omm magnetic recording film.
As may be seen in the photos above, the combined units
are housed in a compact sound blimp having external con¬
trols for both sound and picture recording.
Design of the Arricord was born out of the growing de¬
mand for a compact and portable double-system sound re-
ROWAN
cording camera for use in newsreel filming, in location
sound filming, industrial film production, and in low-budget
TV film production, etc.
The camera unit is the well-known Arriflex 35mm in
a blimp, and features parallax-free through-the-lens focus¬
ing and sighting, positive follow-focus control, three-lens
turret, instant-change 400-ft film magazine, 180° shutter,
film transport with register-pin action, and new internal
gear and drive design that insures maximum quietness of
operation. Because the camera and blimp were previously
described in an article in our February, 1955, issue, we
shall deal here mainly with the magnetic film recording
unit of the camera.
In the Arricord, the Arriflex camera component is per¬
manently joined to the recorder unit by a special precision
gear drive, which assures constant speed and smooth, even
motion in the mechanisms driving both the negative and
magnetic films.
The magnetic film travels in a conventional
manner over a recording head and a playback head, as
338
American Cinematographer
June, 1955
shown in Fig. 3. The monitor or the cameraman, using
headphones, can cut in on the microphone, or listen to
the actual recording through the playback.
Either a 24-volt constant speed DC motor, or a 110-
volt synchronous motor may be employed to drive the Arri-
cord. Either or both motors are available from the manu¬
facturer or the U. S. distributor, Kling Photo Corporation.
They can be interchanged quickly and easily without the
use of tools.
The salient purpose of the Arricord-35 is to afford syn¬
chronous sound picture production away from customary
studio facilities. With this in mind, let us consider for a
moment the governor-controlled DC motor. It is a precision
motor having a centrifugal type governor, which drives the
camera at a him speed of 24 fps. The tolerance of speed
fluctuation is so slight, that even voltage drops of as much
as 30 per cent do not affect its accuracy.
The power source for this motor is supplied by a power
pack (Fig. 5) containing four 6-volt lead-acid batteries
wired in series. The battery capacity is eleven ampere-hours,
which affords running the camera for approximately 21/2
hours or the equivalent of 13,500 feet of him. (An import¬
ant feature in connection with this motor is the unique
clutch on the drive shaft which, in case of a him jam. dis¬
engages automatically.) All batteries required for camera
motor and sound ampliher are contained in the single bat¬
tery case (Fig. 5). For some applications of the equipment,
it may be found more convenient to separate the batteries
and put the “B” battery in the ampliher case together with,
say, a 6-volt dry cell “A” battery, and carry the camera
batteries separately. A battery charger and voltmeter are
also included in the battery case.
The complete Arricord outfit — the camera-recorder, amp¬
liher and battery case — packs easily into three relatively
small carrying cases. Compared to the usual professional
equipment necessary to making high-quality sound-film pro¬
ductions, the Arricord has the advantage of compactness
and light weight so necessary to successful production in
the field of newsreels, industrial and training films, and
television program and advertising hlms.
In actual operation, the camera is handled much the same
as a conventional “single-system" optical sound camera. The
end products, however, are (1) a negative him, and (2)
a separate sound track him. The editing hazards and limita¬
tions which exist in single-system (optical) sound him do
not exist with hlms photographed and recorded with the
Arricord. The picture him may be cut at any point.
Matching up of the sound track and picture him by the
editor is accomplished in the usual manner where clap-stick
and slate is used in photography. In addition, there are ad¬
ditional cue marks provided on the picture him by the Arri¬
cord, which has a built-in cueing device that flashes a light,
when the operator presses a button, that registers a mark on
the him edge where the sound begins; at the same time,
an audible signal is made at a comparable point on the
magnetic sound him.
The important features of the Arricord are shown in the
accompanying photos. In Fig. 1 the blimp is open to reveal
the magnetic recording mechanism and the magnetic him.
The photo adjoining (Fig. 2) shows the blimped Arricord
from the recorder side. Here may be seen the camera con¬
trol switch on the handle, which affords the camera opera¬
tor easy access to stopping and starting the camera at the
same time he operates the pan handle.
Figure 3 shows the camera removed from the blimp and
reveals the complete magnetic recorder mechanism. The
magnetic him travels from the 2nd spool, through the damp¬
ing mechanism to the recording head (1) and past the
playback head (3). The sound drum with its stroboscope
disc is shown at (4). A seven-inch flywheel on the back of
(Continued on Page 357)
FIG. 3 — Arricord camera removed from blimp and showing the
magnetic recording mechanism components: recording head (1),
playback head (3), adjustable dash-pot (2), and sound drum with
stroboscope disc (4).
FIG. 4 — View of opposite or film side of the camera. Here, doors
are removed from the displacement-type film magazine (6), which
holds 400-ft. of film. Also seen is the 3-lens turret (5) and the
motor (7), which is readily demountable.
FIG. 5 — The complete Arricord-35 equipment. The blimped camera
is mounted on an Arri tripod and head. At left is the battery case
(8) and the amplifier-mixer (9) and microphones.
Am erican Cin em atocra i* h er
June, 1955
339
-
FIG. 1 — CAMERAVISION camera, mounted here on Cinemobile crab dolly, is a combination
TV and film camera designed for time-saving feature film production. It may also be used
to simultaneously record a live TV show and photograph it on either 16mm or 35mm film,
color or black-and-white.
which feed the electronic pickups of
each to a monitoring panel where each
camera take is evaluated and selected
for recording or for transmission as a
live TV show — at the same time the
show is being recorded on film.
Each CameraVision camera may be
used as a TV camera alone, as a film
camera only, or with both the film and
video components operating simul¬
taneously — one producing a top-quality
motion picture negative (black-and-
white or color) and the other serving
the combined function of providing (a)
an electronic finder and (b) electronic
monitoring of the camera pickup, at the
same time televising the same show
directly on the air.
With the multiple camera method
having proved so successful in the pro¬
duction of television films, such as “I
Love Lucy,” “The Burns and Allen
Show.” and others, CameraVision now
promises a new and superior instrument
for the production of theatrical films by
the multiple camera method — the salient
feature of which is the speed by which
feature production photography can be
materially increased.
The CameraVision “camera,” as we
shall call it here, even though it is
actually two cameras operating as a
single unit, is no overnight development.
Actually development began in Septem¬
ber, 1949, and a long list of technical
minds have contributed toward its suc¬
cess. Among them are Harry Cunning-
CameraVision -New Video-film
System For Feature Production
By FREDER
Designed for an entirely new concept
of feature film production in which
electronics are combined with some of
the best features of television film pro¬
duction is the CameraVision System,
which was given initial public demon¬
stration in Hollywood in April.
Basically, CameraVision is the in¬
tegration of two types of cameras — a
motion picture camera joined with and
calibrated to a television camera. This
combination, according to Philip Rivero
and Arthur S. Lyons, of Camera-Vision
Productions, Inc., is able to effect sub¬
stantial savings in production costs of
motion pictures for theatrical and tele¬
vision use.
C K FOSTER
Since the advent of television, there
has been increasing interest in and some
accomplishment toward a practical
“wedding” of the best features of the
television and film cameras, if for no
other reason than to enable viewing by
electronic means the scene as it is
actually being filmed. However,
CameraVision goes beyond this, as we
shall presently see.
CameraVision, which Mr. Rivero de¬
scribes as “the first direct influence of
automation on motion picture produc¬
tion.” is based on the successful multiple
camera method of photographing live
television shows. It involves the use
of two or more CameraVision units,
FIG. 3 — FRONT VIEW of blimped CameraVision
camera, showing ports for TV camera lenses,
film camera lenses, and the built-in exposure
meter photoelectric cell, indicated at (1).
340
American Cinematocrapher
June, 1955
FIG. 2 — CAMERAVISION cameras are used in multiples of two or more
and pickup result of each is fed directly to monitors in the portable
control room. Here, show is pre-edited and a kinescope made for evalua¬
tion, or as an editing guide to putting the film record together.
ham, inventor of the Cunningham Cam-
bat Camera; Harold Jury, formerly with
CBS; Gil Wayland, currently with CBS;
James Cunningham of Techno-Instru¬
ment Company; Glenn Robinson, John
Willot, and Roy Helfengstein of Aremac
Associates, Pasadena, Calif.; Jack
Strauss, and Bert Glennon, veteran
cinematographer.
So ingeniously have the two cameras
been fitted together that the complete
unit, blimped, is no bulkier than a
blimped Technicolor camera (Figs. 1
and 5). Considerable weight has been
saved and bulk reduced through the use
of plastic materials in construction of
the blimp.
The four photos below show the
camera blimped and unblimped and
point out certain unique features.
From the operator’s position (rear of
camera) the television camera is at the
right and the him camera on the left.
In the unit demonstrated in Hollywood,
the him camera was a 16mm Auricon
“1200. ’ The camera base of the unit
is so designed that either a 16mm
camera or a 35mm camera may be used
interchangeably. When shooting calls
for 35mm, a Mitchell camera is in¬
stalled having a him magazine with a
capacity of 33 minutes of continuous
shooting.
Perhaps the most noteworthy features
are the series of remote manual controls
at the back and side of the camera,
some automatic, for setting the lens stop,
focusing, and gauging light values.
These are seen in Figs. 5 and 6. Here
some of the operational convenience of
the television camera is adapted to the
him camera. As with the conventional
TV camera, switching from one lens to
another is accomplished by the camera¬
man from operating position simply by
turning the lens selector (7), Fig. 6,
which revolves the turret and brings the
desired lens into “taking” position. In
a like manner, focusing and setting the
f/ stop is accomplished. Turning knob
(4), Fig. 5, controls the diaphragm
setting of the lenses of the him camera,
while focusing is accomplished by turn¬
ing knob (3), Fig. 5 — all this from
behind the camera. It is unnecessary
for the camera operator to refer to the
focus or f/ stop scales on the lenses.
This reference is provided for in a con-
( Continued on Page 364)
FIG. 4 — FRONT VIEW showing blimp removed. The
rotary, 3-unit photocell is shown at (2|. All six
camera lenses are positioned and focused auto¬
matically and simultaneously.
FIG. 5 — REAR VIEW showing electronic viewfinder
hood and lens, also focus and diaphragm selector
dials immediately above. Knob (3) controls focus;
knob (4) sets diaphragm of film camera lenses.
FIG. 6 — VIEW of instrument panel on rear of
camera. Dials (5) show operator the lens in
use, and the focus and aperture settings. The
lens selector knob is shown at (7).
American Cinematographer
June, 1955
341
TEL-ANIMASTAND,
with glass platten
showing Compound
and shadow board.
Table SAME
table.
UNIT with Acme
Manually-operated
No. 12 animation
platten in place.
New Animation And Title
New Animation stand and title hot press of
interest to the producer of TV and industrial
films desirous of stepping up production.
Animation and title-making equip¬
ment priced within the reach of
the average TV and industrial him pro¬
ducer was a feature of the equipment
display at the recent SMPTE semi¬
annual convention in Chicago. The ani¬
mation equipment, tradenamed Tel-
Animastand, and the title printing press,
tradenamed the Tel-animaprint, are both
distributed nationally by S.O.S. Cinema
Supply Corporation. New York. N. Y.
Introduction of the equipment is
TEL-ANIMAPRINT unit which produces titles
and other text from leaf foil for films.
particularly timely in view of the in¬
creasing use of animation, both in TV
commercials and industrial him produc¬
tions. With the daily increasing demand
for this work taxing to capacity the in¬
dependent studios servicing him pro¬
ducers v/ith animation and titles, more
and more producers are giving thought
to installing their own animation and
title making departments.
The Tel-animastand, pictured above,
makes it possible for the average pro-
THE HOT TYPE holder is shown here in posi¬
tion for making impression.
HERE glass platten is in place on the Tel-
Animastand “oversize” art table.
Equipment
ducer to shoot technical and/or cartoon
stop motion, put life into otherwise
“dead" sequences, and inject realism
and a selling-punch into “commercials."
With this equipment, independent him
producers can offer clients a broader
scope of service. Even major studios
can prohtably employ the Tel-anima¬
stand in making “dry runs" and test
shots without interfering with schedules
going through the studio's regular pro¬
duction equipment.
The Tel-animastand embodies features
of the photo-enlarger, motion picture
camera, micrometer and the round¬
house turntable. A movable, counter¬
balanced, vertical carriage is provided
for the camera which photographs the
(Continued on Page 354)
HERE the continuous roll-free mount is in
place on compound movement.
EASTMAN
PROFESSIONAL
MOTION PICTURE
FILMS
W. J. GERMAN, Inc.
John Street 6040 N. Pulaski Road 6677 Santa Monica Blvd.
Fort Lee, New Jersey Chicago 30, Illinois Hollywood 38, California
JOSEPH LaSHELLE, ASC, (2nd from left) who spent 24 years at
20th Century-Fox, is shown here with actor-producer Cornel Wilde
(at his left) for whom he directed the photography of “Storm Fear,”
Wilde’s initial venture as an independent. Picture was filmed in
black-and-white in standard ratio, with most of the action taking
place on this location.
The Cinematographer And The Independent
The rapidly developing field of independent production offers
challenging opportu nities for veteran major-lot cameramen.
By FRANK
IS it A GOOD time for the cinematographer who has been
with a major studio for a long time to think of making a
change to the independent field? What has the director of
photography to give the independent picture? Does work
in the independent field lead naturally to television? Are
there more problems for the photographer in the inde¬
pendent field than for the same photographer in a major
studio ?
These questions are generating in many photographers’
minds today. Independent production is burgeoning. So is
television. Is it time for a change?
Joseph La Shelle, A.S.C., who spent 24 years at Fox, and
has recently been working in the independent field (having
just completed "Storm Fear" with Cornel Wilde for the
DAUGHERTY
latter’s independent company), has had to answer some of
these questions for himself.
The major lot director of photography, La Shelle says,
has a definite and growing place in the independent field,
because he is equipped by experience to save costs and to
aid a production considerably in the pre-production plan¬
ning. He works more closely in this field with the writer,
the producer, and the director; and story, cast, and ways
of lining up shots for the greatest economy in effort and
money get his deliberate consideration. These matters, in
the majors, are too likely to be departmentalized and not
reach his attention, or receive his direction, until the day
the picture goes before the cameras.
The years the major lot man has had in reasoning on
344
American Cinematographer
June, 1955
these subjects and in too seldom being given a voice in
them, has prepared him admirably for the problems that
will face him at once in the independent field.
In his seven weeks with “Storm Fear” — two of them on
location — La Shelle’s discovery that every new setup was a
new opportunity for the cinematographer to think for him¬
self gave him confidence that this is a field in which the
major lot man will find new and vital interest in his job.
For a large percentage of the footage shot on location
for “Storm Fear,” La Shelle used a hand-held Arriflex — a
camera with which he has been familiar for some time but
saw used in new and interesting ways earlier this year when
he was in Switzerland.
When producer-director Wilde called for special effect
shots of himself, Steven Hill, Lee Grant and David Stollery
snowshoeing through trees in deep snows high in the Saw¬
tooth Mountains of Idaho, La Shelle mounted operator
Roger Sherman on a box on a narrow sled who followed
them through, using the hand camera. There was no room
for a dolly here. And as always, in snow, the shot could be
made only once, with no rehearsals. Inexperience in a case
of this sort could be costly.
For even more difficult takes in the same location area,
when Wilde wanted an effect of the camera as protagonist,
following the actors and literally brushing aside the tree
limbs as it passed, Sherman mounted a guard over the lens
and literally let the hand camera push its way through the
trees behind the players.
Back at the studio, where all the sets represented one
house, La Shelle again brought the hand camera into use.
Where, in tight places, a big camera on a dolly would have
meant the removal of walls, he was able, with the smaller
hand-held camera, to keep the walls up, get the shots, and
save a considerable amount of time and labor.
It is his conviction that with proper blimping and a
1000-foot magazine added to the Arriflex, as he saw some
of the Italian film companies using the camera in Switzer¬
land, an ideal instrument is at hand for special effects, tight
spot shooting, and great savings to the independent pro¬
ducer.
In some of the mountain shooting, La Shelle did haul the
big Mitchell up the sheer sides of mountains on a sled at¬
tached to a block and tackle; but many times, when shooting
from the top of a rock where there was not even room for
the larger instrument, or walking through deep snow, where
it could not be pulled, he found the smaller camera invalu¬
able.
This use of a single camera is only illustrative of some
of the ways in which the cinematographer may devise new
uses of his instruments for the independent picture, La
Shelle says. Other problems will call for other measures
and devices. But the point he makes is that the experienced
cinematographer, with years of such problems behind him,
has at hand for instant use the means for solving them.
On “Storm Fear,” La Shelle faced some of these, too.
The story was one of character clashes, several sequences
taking the actors across the mountains in deep snow, the
others being confined within the walls of the single house.
These factors raised a number of questions early in the
picture. Should the picture be in color to take advantage
of the impressive seldom-photographed landscape of the
snow-covered Idaho mountains? Wilde didn’t think so.
Neither did La Shelle. Color doesn’t lend itself to strong
dramatic action. It is too pretty. Running off several big
color pictures together, they found them weak on the very
points they wanted their picture to be strong. In the films
screened, the great beauty of the backgrounds killed the
mounting intensity of the story action.
Then what about CinemaScope? Joe had worked in it,
was an expert in it — and had, in fact, been sent to Europe
to help get some CinemaScope pictures started over there.
But there were only seven actors in this picture. In a
great deal of the action, they would be bunched together in
twos and threes. Would the rest of the big CinemaScope
screen look empty or blanked? It seemed likely. On the
other hand, the normal small screen would greatly diminish
the effectiveness of the tremendous landscapes. The 1 :85-to-
one wide-screen was finally decided upon, and the choice
proved a wise one.
The cameraman isn't the only one who brings new ideas
to the independent field, of course, and Wilde himself gave
(Continued on Page 356)
A TOBOGGAN served as a camera dolly for a sequence of chase scenes in the snow
IN MORE rugged terrain, the light, portable Arriflex camera was used
American Cinematographer
June, 1955
345
pcnflsvn
Cl
FILM HfCOIDf 1
TEAMWORK
Is vital in
EQUIPMENT. TOO!
The Magnasync X-400 Recorder
and G-924 Mixer is a proven
team that pays off in picture
after picture . . . wherever the
location!
DIR -UANSBUR^h
C 9 tj - C O •< p H L
SUTHiR
John Sutherland production “The
Living Circle” produced in the
jungles of Honduras. Sound was
recorded with Magnasync team —
X-400 recorder and G-924 mixer
by Mexican technicians.
n Director Larry Lansburgh, owner of
the Magnasync equipment, is
famous for his Academy Oscar
nominee "Beauty and the Bull" and
the Walt Disney production "The
Littlest Outlaw."
Magnasync G924 Multi-Channel
Microphone mixer
Designed specifically for motion picture sound
recording this high-level four channel mixer fea¬
tures lightweight portability (19 lbs.), dialog
equalization on each incoming channel, master
gain control, built-in Microphone talk-back system,
and is engineered by and for sound engineers,
incorporating top quality components.
For the engineer who prefers a console mixing
operation, the G-924 Mixer units can be placed
side-by side.
Producer Net Price $375.00
Magnasync x-400 Recorder
Featuring extreme portability and economy, the
X-400 is a complete synchronous 16mm Magnetic
film recording and reproducing channel, profes¬
sional in every detail. Showing mechanical unit
stacked on amplifier. Cases can also be sep¬
arated and placed side by side for those who
desire “console operation.” Positive projector in¬
terlock can be made with a simple flexible-cable
gearbox.
Producer Net Price $895.00
Send for complete specif cations
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EFFECTIVE JANUARY, 1955. SUBJECT TO CHANGE WITHOUT NOTICE.
NEW YORK — Camera Equipment Co., 1600 Broadway, New York
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CHICAGO — Zenith Cinema Service, Inc.,
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DEALERS
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NEWSREEL
CAMERAMAN
OF THE YEAR
Maurice Levy, Dallas, Texas
cameraman for NBC-TV, is voted
tops in his profession.
By LEIGH ALLEN
Maurice Levy, NBC-TV cameraman working out of
Dallas, has been named “Newsreel Cameraman of the
Year’' in the annual “News Pictures of the Year’’ com¬
petition jointly sponsored by the National Press Photogra¬
phers Association and Encyclopaedia Britannica. This
award, considered the highest accomplishment for a news¬
reel cameraman, means that among all contestants in the
annual competition conducted by his own associates, Levy '
was adjudged the tops.
His award is based on a cross-section of his work con¬
sisting of a "portfolio'’ of newsreel stories. The competition
was judged in four categories: spot news, sync sound,
feature and sports. A portfolio, under the rules, must contain
stories from at least two of the four categories. In the voting.
Levy also won first prize in sync sound with an entry en¬
titled “Spanish War Veterans,” and also won first prize in
sports with an entry entitled “Ballet Basketball.”
Other prize winners were: Feature category: first prize
to Gordon Yoder of Telenews; second prize to Phil Pendry
of Warner Pathe News; third prize to Lew Clark, WCAU-
TV, Philadelphia.
Sync-Sound: first prize to Levy; second prize to Harlan
H. Mendenhall, KOA-TV, Denver; third place to William D.
Snyder, WDAY, Fargo, N. D. Honorable mention went to
Albert G. Gretz, CBS News.
Spot news: first prize to William L. Cooper, Jr., WJAR-TV
Providence; second prize to the team of Richard A. Winer
and Levi C. Nelson, KSTP-TV, St. Paul; third prize, a tie,
to Gene Zenier of Warner Pathe and to the team of Dennis
Chin and Wade Bingham of CBS News.
Honorable mentions in this category went to Frank 0.
Seed of Movietone News and to the team of Louis Oberste
and Chris T. Button of KARK-TV, Little Rock.
Sports category: the first prize went to Levy, the second
prize to Gordon Yoder, the third prize to Jesse Sabin of
NBC-TV, with honorable mentions to Tom Priestly of NBC-
TV and Jay M. Hytone of WHO-TV in Des Moines.
Interesting is the fact that television newsreel cameramen
captured the bulk of awards. Of the eighteen prize and
honorable mention awards, fifteen went to TV newsreel
cameramen. Of the remainder, two went to Warner Pathe
newsreel men and one to a Fox Movietone cameraman.
This competition, largest and most inclusive of its kind
ever held, was judged in 14 different categories. A total of
more than 3.500 still pictures and 100 newsreel stories were
entered in the competition from a total of 443 still pho¬
tographers and newsreel cameramen. The top award in the
newspaper, magazine and newsreel categories went to the
individual whose entire year’s work, as represented by a
MAURICE LEVY, NBC-TV newsreel cameraman working ool of
Dallas, Texas, winner of top award in annual National Press
Photographers Association 1955 competition.
portfolio, was adjudged the best of all viewed by the judges.
The annual competition is a function of the educational
and technical program of the National Press Photographers
Association, which also includes the co-sponsorship with
Britannica of short courses in photo- journalism — technical
and editorial seminars at various colleges and universities
from coast to coast. Increasingly of recent years this general
educational program has paid attention to developments in
the newer branches of pictorial communication, such as the
picture story, color photography and theater and television
newsreel coverage.
Newsreel judges included Rueven Frank, special events
department of NBC; Walton C. Ament, Vice President of
Warner Pathe News; E. P. Genoch. Manager of television
programming for Eastman Kodak; Ray Kroggel. Regional
Manager, Encyclopaedia Britannica Films; Tom McMorrow.
Movietone News; Harry Robert, This Week in Sports; and
John Knight, Paramount News.
A showing of the winning newsreels and an exhibition of
the winning still pictures in the competition will be held at
the annual convention of the National Press Photographers
Association which opens June 8 at the Broadmoor Hotel
in Colorado Springs. Awards will be given the winners
who are in attendance at the convention. These include
plaques of award for all first prize winners and medal¬
lions for second and third prize winners. Prize winners
also receive sets o i the Encyclopaedia Britannica ; a copy of
the Britannica World Atlas, and copies of the 1956
Britannica Book of the Year, which will reproduce a selec¬
tion of the top award photographs. end
American Cinematographer
June, 1955
347
Amateur
CINEMATOGRAPHY
Use Of Filters
In Cinematography
The wise use of a filter will
frequently make the difference
between an excellent composition
and a mere pictorial record.
By CHARLES LORING
A “G” FILTER and black-and-white film or a Pola Screen and color film
will produce contrasty skies in scenes like this, bring foreground objects
into sharper relief. Whether you’re an amateur or a pro, knowledge and
use of filters will greatly enhance your photography.
A MATTE BOX and filter holder, such as the one pictured
above, simplifies the use of professional-type square
filters. Holder is marketed by National Cine Equipment,
Inc., New York; fits most all 8mm and 16mm cameras.
IN Hollywood motion picture studios, filters are consid¬
ered as much a part of photographic equipment as the
camera and lenses. In recent years, semi-professional and
advanced amateur cameramen have also come to recognize
the tremendously important part played by the correct use
of filters in producing better movies.
It is a fundamental law of physics that a filter transmits
or passes light of its own color, and absorbs or holds back
light of a complementary color. Thus, a yellow filter will
pass yellow light but hold back blue light, which is comple¬
mentary to it. Because all filters cut down (in varying de¬
grees) the amount of light passing through the lens, it is
necessary to increase the exposure to compensate for the ad¬
dition of the filter. The number of times this exposure must
be increased is known as a filter factor.
To illustrate the principle of the filter factor, let us sup¬
pose that the normal exposure for a particular movie scene
is f/5.6, without the filter. Then, suppose we decide to use a
yellow filter with a factor of 2. This means that the lens
would have to be opened up one full stop, admitting twice
as much light, in order to compensate for the amount of
light held back by the filter. Instead of f/5.6., the aperture
opening would now be f/4.
Basically, filters fall into three categories: (1) Those that
are used to correct the rendition of certain colors in a scene
so that they will record in the proper tonal values as they
appear to the eye; (2) those that purposely distort or ex¬
aggerate the tonal values of a scene for special effect; and
(3) those used to reduce the amount of light reaching the
film.
First, let us consider the filters that are used for correc¬
tive purposes. In black-and-white cinematography, blue
water and blue skies tend to “burn up” (even when modern
panchromatic emulsions are used) because of the excess of
ultra-violet which they reflect. In order to tone such areas
( Continued on Page 359)
ROUND FILTERS, that attach directly to the lens, are manu¬
factured by Eastman Kodak Company and others, and are
available in camera stores.
DEDICRTED TO BETTER PERFORHIRRCE
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For motion picture and
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The advanced dolly for
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For studio or location. Folds
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semi-professional tripods.
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Swivel seat. Adjustable leveling head.
Seat for assistant. In-line wheels for
track use. Steering wheel, rigid floor
locks. Hand pump or combination hand
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station wagon. Fits through a 28" door.
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Operator can push the boom and oper¬
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cable hangs outside of boom, preventing cable from tangling
with the rotation mechanism. Ball bearing casters, rigid foot
locks, pneumatic drop check for lowering the boom, etc.
with TACHOMETER
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Amateur
CINEMATOGRAPHY
PRODUCTION STAFF of Cinema Associates, ambitious Los Angeles
amateur movie club, filming location scenes for recent production,
“Dinner Date.”
Shooting Double-system
Sound With A
Single-system Camera
By LEO CALOIA
How we shot a double-system sound picture, using a
single-system sound camera, is an accomplishment that
was born of the desire that is inherent in every ambitious
amateur movie maker — to improve techniques and to emu¬
late the professional in results.
Cinema Associates, which is the imposing title of a group
of amateur movie makers in Los Angeles, had decided to
shoot its next color and sound production much the same as
do the Hollywood studios — making frequent cuts and
changes of camera angles and at the same time recording
each take in synchronized sound.
As we reviewed our previous efforts — “The Thing,”
“Joint Account,” “Man of Vision.” “Maid to Order,” and
others, it was more apparent than ever that there was some¬
thing definitely missing in each of these pictures, which had
been photographed in 16mm color with lip-sync sound.
There was not enough variety in the camera angles,
especially in long-sustained musical and dialogue scenes. This
is because all our pictures had been photographed with a
single system sound camera. Because, with this system,
the optical sound track and the picture are recorded on the
same film simultaneously, it is not possible to make the cuts
in editing that are possible when working with double
system sound film, where the sound track is on a separate
film from that of the picture.
As our old pictures unfolded on the screen, they reminded
us of some television programs that are televised with a
single camera — every scene is from the same angle, with
the only variation being an occasional dollying of the
camera or perhaps a quick switch to a telephoto.
And so we came up with a method that permitted us to
shoot with our single-system sound camera, plus a second
silent camera, and obtain the variety of shots common to
professional sound feature productions. Title of our pro¬
duction employing this system is “Dinner Date.” It de¬
monstrates the greater flexibility we thus achieved. There
are ample changes of camera angles on dialogue scenes and
no interruption of sound where the cuts occur, although we
frequently stopped the Auricon camera for eloseups, medium
shots and other setups.
“Dinner Date” is the story of two neighboring housewives
who. while hanging out the Monday morning wash, decide
to run away from the drudgery of housework — from cook¬
ing. washing, sewing, etc., and getting little else in the way
(Continued on Next Page)
NIGHT CLUB sequences were filmed in a local night club. Producers
followed regular professional practice in filming shots of this
type — having players sing and dance to a playback as the action
is filmed. This permitted wide variety of camera angles.
ANOTHER location still which shows how ample is Cinema Asso¬
ciates' production crew. Whether a production is professional or
amateur, it takes plenty of help to do a thorough job. Well organ¬
ized and trained, group has made many 16mm sound films.
American Cinematographer
June, 1955
351
DOUBLE-SYSTEM SOUND
( Continued from Page 351 )
of pleasure except a fifty-cent movie on
Saturday night and a two-bit ham¬
burger afterward, which the husbands
usually paid for after dipping into the
wives' handbags for the money.
In the course of events, the wives
meet up with two slick bank robbers
on the lam who invite them to a fancy
night club for dinner and champagne.
While they are watching the floor show,
the robbers are recognized. They flee
the night club, taking the women with
them. In their haste, the wives leave
their purses after them.
Following this is a closeup of a clock
showing the time, 5:30. and this dis¬
solves to a shot of one of the husbands
coming home from work. As he enters
the living room, he finds his wife asleep
on the sofa. Beside her is the daily
newspaper with headlines telling of the
bank robbery.
^ hen the husband awakens her, she
tells of dreaming about meeting the two
bank robbers. It is now too late to get
dinner, so hubby agrees to take his wife
out. She dresses in the beautiful gown
she wore to the night club escapade,
hopeful that friend husband is taking
her to a nice cafe. But as usual, they
end up at a hamburger drive-in. And,
as in the past, friend husband has to
borrow money from his wife to pay for
their “dinners.” But this time she
hasn't her purse. With a sly look she
says she “must have mislaid it some¬
place” — and the picture ends here in a
fadeout. This surprise twist leaves it
up to the audience to decide whether or
not the wives really ran away, met the
bank robbers, and dined with them — or
whether it was all a dream. It could
have been either way.
Two cameras were used in filming
the production — a Cine-Special and an
Auricon-Pro 16mm single-system sound
camera. The Special was used mainly
for shooting the opening shots of each
sequence, then we switched to the Auri-
con as we moved in for closeups with
recorded dialogue. Accurate count of
footage was kept on each take made
with the Special, then the exposed film
was wound back in the camera, re¬
moved and loaded into the Aurieon,
which was used as a recorder for
putting a track on the film shot with the
Cine-Special. This was done by capping
the lens (on the Aurieon) and starting
the camera on cue — using the data
sheet we kept while filming the “silent”
scenes. The last scene in each sequence,
of course, would be a closeup, ending in
a fade, which led smoothly into the next
closeup made with the Aurieon with
lip-sync dialogue.
An example of the actual procedure
is as follows: In the opening sequence
of the picture, the two housewives are
shown emerging through their respec¬
tive backdoors, each bearing a basket of
wash. The camera then follows one of
them as she starts to hang wash on the
line. The clothesline breaks, then she
stumbles over the clothes basket. Kick¬
ing the basket furiously, she walks over
to the fence and starts talking with her
neighbor. This is the conversation that
leads to the decision to run away. None
of the dialogue is heard, however. The
shots made up till now were filmed with
the Cine-Special, using single perfor¬
ated film that allowed space for a sound
track to be post-recorded. The sound
track for this sequence, recorded later
by the process previously described, has
a music background with narration ex¬
plaining that it “was a day early in
Spring. Not only was the sky blue, but
it was blue Monday” . . . the music
begins to fade at this point and here
there is a direct cut to a medium shot
of the neighboring housewife as she
approaches the fence.
The next shot is a closeup of the first
housewife, made with the Aurieon
sound camera, and is the shot in which
the story-telling lip-sync dialogue is re¬
corded. Briefly, the method consists of
shooting all medium and long shots
“silent” with the Cine-Special, and the
closeups with lip-sync dialogue with the
Aurieon. Obviously, this permits more
flexibility in the filming, enabling the
camera to alternate between medium
and longshot or closeup or changing
camera angles as desired.
Shooting the night club sequences,
which involved music and singing,
proved an interesting experience for us.
Fortunately one member of our group
was a friend of the owner of a local
night club. He was given permission
to use the club interior one Sunday
when the place was closed. Here we
shot scenes of the two housewives being
dined by the pair of bank robbers.
Naturally, we concentrated on the en¬
tertainment — a young woman singer
and a pretty Hula dancer.
We adopted the procedure employed
by the major studios in shooting musical
numbers: we made a recording of the
music and the singer’s voice on a phono¬
graph record, then played it back dur¬
ing filming with the singer “mouthing”
the words in strict synchronization with
the record. Unlike in the studio pro¬
cedure, where the playback music is re¬
corded on the film at a later time, we
channeled the sound from the phono¬
graph into the Aurieon. Then we con¬
nected a speaker to the Aurieon ampli¬
fier through the jack normally taking
the headphones plug. In this way, the
dancer or singer would hear the music
352
American Cinematographer
June, 1955
CAMART PRODUCTS
DEVELOPED THROUGH YEARS OF EXPERIENCE AND USE!
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• CAMART
CAR-TOP CLAMPS
INSURE YOUR CAMERA SAFE¬
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Television newsreel cameramen
all use these clamps when
atop a car or station wagon
platform. Heavy duty bronze
construction. Weatherproof.
Set of three . $28.00
• CAMART
TRIANGLE
$29.50
Our own triangle fea¬
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deep wells. Our center
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the legs and sturdy
clamps assure solid sup¬
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and CLAPSTICK
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Thanks to your overwhelming re¬
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our high quality slate and dap-
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$4.75 fob, New York
HERE’S 8 REASONS WHY: . . .
For faster and smoother coring of film.
Designed to fit all rewinds.
Saves storing of film on reels.
For left and right side rewinds.
Chrome plated ball-bearing film guide roller.
Core adapter fits 16mm and 35mm plastic
cores.
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Does not interfere with normal use of the
rewind.
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CAMERA • MART
1845 BROADWAY at 60th ST.
NEW YORK 23, N. Y.
PHONE: Circle 6-0930
CABLE: CAMERAMART
PRODUCTION EQUIPMENT
CAMERAS
ARRIFLEX 16mm Cameras in stock
ARRIFLEX 35mm sound blimps in stock.
CINE-SPECIAL I, black, 100' chamber,
15mm, 25mm lenses, excellent..., $425.00
FILMO model A, l" f3.5 lens . 59.95
FILMO model DA, 2” lens, auto¬
parallax finder, case . 325.00
EYEMO model K, 2" lens . 295.00
FILMSTRIP CAMERAS
Pathe 35mm, 400' mags, single
frame shaft, very fine . 150.00
Erneman 35mm, 400' mags, excel¬
lent condition . 125.00
Universal 35mm, 200' mags, very
fine condition . 125.00
LIGHTING EQUIPMENT
COLORTRAN Jr. Kit, new, previous
model, list $189.75, special . 145.00
COLORTRAN SPOT Kit, previous
model, new, special . 195.00
Current model, list . 291.00
Fluorescent lighting units, ideal for
flat or fill light, takes six 20 watt
tubes, new, govt, surplus, original
cost $150.00 each, only 12 left,
reduced to . $25.00 each
DIMMERS, from 2000 tol650 watts,
new, list $108.00, special . $81.00
DIMMERS, from 1000 to 750 watts,
new, list $73.00, special . . $58.00
PROJECTION EQUIPMENT
BODDE 4x5 background screen
projector, new, list $1450.00,
complete with 9x12 screen,
frame, stand, special . $1,275.00
B&H FILMOSOUND, 12" speaker,
LN . 425.00
8x10 Portable screen with case
and stand . 100.00
Pair DEVRY 35mm sound pro¬
jectors, magazines, amplifier,
speaker, completely rebuilt.
Specially offered at . 850.00
EDITING EQUIPMENT
MOVIOLA 35mm Preview, large
8x10 composite picture and
sound, separate 35mm sound,
completely reconditioned . $1,650.00
MOVIOLA, 16mm composite pic¬
ture & sound, 16mm separate
sound, green model, excellent
condition, one only . $1,550.00
MOVIOLA 16mm silent picture
heads . 245.00
MOVIOLA 35mm optical readers,
exc . 79.50
MICRO 2/35mm synchronizer, like
new . 75.00
STOP WATCH for editing, 16mm-
35mm . 13.95
B&H Exchange model 35mm splicer 725.00
SYNCHRO Reader attaches directly
to your synchronizer for mag¬
netic sound film . 99.50
MISCELLANEOUS
Camart Scout tripods, demonstra¬
tors . $ 69.50
Duplex 35-16mm reduction printer 495.00
Telescoping mike boom to 19 feet 695.00
Watson 35mm developing system 89.50
Berndt-Maurer 1 6mm recording
system complete and in first
class operating condition . $2,150.00
Pair 35mm sound dubbers, sync
motors, pedestals, 2000’ mags,
excellent condition . $1,650.00
THE CAMERA MART, INC.
1845 BROADWAY at 60th STREET
NEW YORK 23, NEW YORK
PHONE: CIRCLE 6-0930 CABLE: CAMERAMART
as it was being recorded on the film
and dance or “sing" in sync with it.
The vocal part of the record had 16
lines which we divided into 4 verses of
4 lines each. We were now ready to
start our first scene, which would he a
medium shot. The speaker and the
phonograph were plugged into the
amplifier. The vocalist was directed to
sing, keeping in “step” with the record¬
ing.
Our singer-actress was photographed
singing the words of the song, but the
sound track recorded only what was
coming off the phonograph record. The
scene was then shot, stopping the
camera on the fifth line of the lyrics.
The Auricon was then moved in for a
closeup. The music was started from
the beginning again, but not the
camera. This was started rolling when
the singer was on the fourth line and
was stopped on the ninth line. Then the
camera was moved to get a pan medium
shot of the audience listening and look¬
ing at the singer. Of course in this
case, in which our actress singer was
not in the scene, we started the camera
when the voice on the phonograph
record reached the eighth line, and
stopped on the thirteenth line. The
camera was then moved for another
closeup of the singer, starting with the
twelfth line and proceeding to the end
of the vocal.
The scenes of the Hawaiian dancer
were filmed in three setups. Her com¬
plete dance was shot in closeup. medium
shot and long shot.
Now let’s see what happened when
we edited the song and dance sequence.
The words on the sound track at the
beginning of every scene duplicated or
overlapped the wording at the end of
the previous scene. It was then an easy
matter to match up, say, a word at the
end of a medium shot with the same
word at the beginning of a closeup and
cut and splice at that identical point.
When it was flashed on the screen, the
sound flows smoothly, but the scene
changes from medium shot to closeup.
Of the Hawaiian dancer, three complete
dances were filmed from different
angles. W hen these scenes were edited,
we still had three complete dance
routines, but each had closeups. medium
and long shots, with no break in the
music. Only one complete dance se¬
quence was finally used, however.
It took us all day to film the song
and dance numbers at the night club.
It is amusing at times what one hears
when a motion picture is being filmed.
Two of the regular night club wait¬
resses arrived just as we were shooting
the last scene. One asked the other if
the production was professional or ama¬
teur. She observed that apparently it
was amateur, as she “saw no one work¬
ing on any budget!"
After the film was completed, we de¬
cided to “sneak preview" the picture
before an audience that had no connec¬
tion with the making of it. We pre¬
viewed it before the members of the
Los Angeles 8mm Club, one of the old¬
est amateur cinema clubs in the country.
This club is particularly noted for con¬
sistently producing top-notch 8mm
scenario films. We believed that a club
of this calibre would give us some really
constructive suggestions on the preview
slips which were passed around after the
show.
The written comments we received
were indeed very helpful. But one in
particular amused us very much. It
was the answer one club member gave
to the question: “ff hat is your opinion
of the picture?”
He wrote: “Too dangerous for mar¬
ried people to see!”
ANIMATION AND
TITLE EQUIPMENT
(Continued from Page 342)
art work. (In two of the photos, a Cine-
Special camera is shown mounted on
the carriage.) Optical effects, such as
pans, angles, zooms, etc., are accom¬
plished by adjusting the camera in its
mounting or moving it toward or away
from the art work or subject. The zoom
assembly is manually operated, but it
may easily be converted to motor con¬
trol. The mechanism is geared for fast,
smooth travel of the carriage, affording
the camera a range of width-of-field
from 4 to 12 inches. Lining up the
camera is simplified by calibrations on
a scale plate, which can be adjusted to
suit the particular camera being used.
The equipment has been engineered
to utilize two types of art tables — one
for large-size copy, such as maps, etc.,
and a compound animation table that
provides for standard animation cells.
With the first, copy up to 18 by 24
inches may be accommodated. The table
can be turned, by aid of hand wheels,
a full 360 degrees; at the same time, it
may be moved forward, toward the
back, or to the right or the left. A fea¬
ture is the micrometer-like control of
table position. Four Veeder-Root coun¬
ters guarantee accuracy, both additive
and subtractive, affording exact re¬
location of the table at any time. Coun¬
ters indicate movements in degrees of
l/20th of an inch. On special order,
this can he increased to 1 /100th of an
inch.
The compound table features the in¬
dustry standard Acme peg bar registra¬
tion system. It is equipped with upper
and lower, East-West sliding peg-bar
American Cinematographer •
354
o
June, 1955
The first sensibly priced Hot Press Title
Machine for high quality, fast lettering.
Prints dry from colored foil for instant use.
Acme pegs give perfect registration on
paper or acetate cells.
A professional Animation Stand with accu¬
racy guaranteed by Acme Peg Bar registra
tion. Includes all basic movements — does
everything the animator needs.
For MOTION PICTURE PRODUCERS, ANIMATORS, TV STATIONS,
SPECIAL EFFECTS LABORATORIES, ADVERTISING AGENCIES, etc.
6'4” high
47” wide
43 V2" deep
PRICED FROM
TEL-ANIMA Tools for Top Techniques
25" high
14” wide
I8V2” deep
PRICED FROM
WRITE FOR
ILLUSTRATED BROCHURE
Manufactured and Distributed Exclusively by
602 WEST 52nd STREET, NEW YORK 19, N. Y
Phone: PLaza 7-0440 Cable : SOSOUND
1
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ALL MODELS FIT
IN YOUR CAR!
For Prices and Literature,
Ask Your Dealer or IF rite
CINEKAD ENGINEERING CO.
500 WEST 52ND ST.. NEW YORK 19. N.Y.
PLaza 7-3511
DESIGNERS AND MANUFACTURERS OF
MOTION PICTURES AND TV EQUIPMENT
CINEKAD Microphone Booms
CINEKAD Mike Booms are light in
weight, rigidly constructed, precision
engineered and ideal for location or
studio work.
1 Model BR-1 1 extends from 6 to 1 1 feet.
2 Model C-12 extends from 7 to 1 3 feet; has
external directional mike control.
3 Model “Miracle” extends from 7 to 18
feet; has internal fitted noiseless directional
mike control.
4 Model C-l 8 extends from 7 to 1 9 'A feet;
has external directional mike control.
5 “Fishpole” mike boom extends from 6 to
12 feet. The monopod feature permits op¬
erator to handle “Fishpole" mike boom for
hours without fatigue.
Each ClISEKAD Mike Boom has a sturdy
5-foot stand , which can be elevated to a
height of 10 feet.
Lighting Equipment
for
MOTION PICTURES - TELEVISION
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SCHOEN & CROWE
403 West 47th Street • New York 36, N. Y.
DISTRIBUTOR FOR BARDWELL-McALISTER
► FITS ALL 16 MM. REELS
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AMERICAN
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REELCLIP
movement, and a quick-reference rule
set in 1/20 of an inch increments. Three
pairs of upper and lower peg bars and
intermediate floating pegs are installed
in the geared sliding units to afford
extra long pan shots.
A pantograph located on the right
side of the unit (and shown in the third
top photo) facilitates accurate plotting
of complicated camera movements by
indicating any movement of the table
in direct relationship to the camera lens
center. The adjustable platten on this
particular table is designed to hold art
work flat, regardless of thickness.
Still another feature is the built-in
shadow box that provides a void which
creates a dead black background neces¬
sary to making television superimposi¬
tions. Two light boxes have been de¬
signed to fit within the shadow box;
one is balanced for black-and-white
him for the purpose of backlighting
pencil sketches and transparencies; the
other is carefully balanced to the cor¬
rect degree of Kelvin temperature for
color films.
Some of the trick effects that may
be accomplished with this equipment
include displacement of flat paper and
metal cutouts; single- and double-
jointed cutouts; moving shapes of string,
thread, chain, etc., additive and sub¬
tractive partial replacement, such as
chalk-and-blackboard, scratch-offs and
paint-ons, with in and out movement of
pin shadows to create unusual pictorial
and image effects. These supplement the
usual total displacement routines with
cells, hand-painted movie him projected
from above or below, and replaceable
cutouts.
A shadow board fitted below the
camera mount is adjustable for different
cameras and contains a built-in matte
device which is valuable in creating
special effects by the use of mattes hav¬
ing such designs as a keyhole, heart,
etc., and the usual half-frame, diagonals,
etc.
The carriage faceplate will accommo¬
date most popular makes of motion pic¬
ture cameras adaptable to stop-motion
photography. Still cameras can also be
mounted for shooting stills, slides and
opaque copy.
The Tel-animaprint hot press with its
Acme peg bar line board, shown in the
above photos, is a recommended com¬
panion piece to the Tel-animastand. Be¬
sides its use for lettering title cards, it
can also be used for lettering acetate
cell overlays that are to be combined
with photographs in photo-animation
work.
The Tel-animaprint employs heated
foundry type, in a wide range of sizes,
impressed upon color foils to produce
ad copy, titles, crawls, flip cards, etc.
Eliminating the use of printer’s ink,
the results are clear, sharp impressions,
fully dry and ready for immediate use
before the camera. A feature is the fact
no pre-heating of type is required. The
type composition once placed on the
press, is heated in a matter of seconds
and made ready for the impression.
More detailed information on both
pieces of equipment is available from the
manufacturer-distributor — S.O.S. Cine¬
ma Supply Corporation.
THE CINEMATOGRAPHER
AND THE INDEPENDENT
( Continued from Page 345)
a fillip of innovation to the picture by
deciding that he would first select his
locations and then have his writer write
the final script to fit them instead of
shooting an already conceived script
against haphazard backgrounds chosen
by some Hollywood location manager.
With Mrs. Wilde and their two
sons, Patty, 11, and Jeff, 9, Wilde spent
the month of December on skis and
356
American Cinematocrapher
June, 1955
snowshoes picking the locations that
were finally used in “’Storm Fear.”
The result was that the location be¬
came one of the most vital elements in
the story. And for LaShelle, its very
remoteness and rugged character posed
new challenges for him. Here the use
of heavy cameras and equipment was
out of the question. The light, portable
Arriflex, therefore, was the camera cir¬
cumstances dictated for filming the im¬
portant action sequences that were
staged here.
Fortunately the April weather fa¬
vored the shooting as it went forward.
Wilde and La Shelle decided to shoot
the lower altitudes first, around 6200
feet, and climb to the higher ones (the
Sawtooths rise to 11,000 feet) in story
continuity — another innovation.
It proved a wise decision, for while
the sun did come out and melt the snow
in the lower location altitudes, it snowed
continually during the two weeks of
location shooting in the higher eleva¬
tions.
No cinematographer should jump to
the conclusion that he can walk out of
a major and into an independent job.
This isn't the tenor of La Shelle’s argu¬
ment. The important thing for the
cinematographer, he says, is to know
that as the independent field develops,
it has a definite place for the experience
and know-how of the major-lot man.
There have been developed no short¬
cuts in it to problem solutions. That,
only experience can bring.
MAGNETIC SOUND CAMERA
(Continued from Page 339)
the panel insures the maximum of con¬
stant speed in film travel.
Figure 4 shows opposite side of the
camera. Here the doors are removed
from the displacement-type magazine
(6) which holds 400-ft. of film. Atten¬
tion is also drawn to the 3-lens turret
(5) and the motor (7), which is readily
interchangeable without need of tools.
The complete and compact Arricord
35 outfit is pictured in Fig. 5. The
blimped camera, mounted on an Arri
tripod and head, is facing forward. The
battery case is shown at (8), and the
amplifier-mixer at (9).
In 1935, the company of Arnold &
Richter invented and patented the re¬
flex motion picture camera shutter,
which remains the salient feature of the
Arriflex 35mm and 16mm cameras.
With the introduction of the Arricord
35, the company has contributed an¬
other noteworthy “first” in cinemato¬
graphic equipment. The company, in¬
cidentally, is presently working on a
16mm model of the Arricord, which it
expects to have available later this year.
Negative Developing
First Print Department
Ultra Violet and
Flash Patch Printing
16 mm and 35mm
Release Printing
Title Department
45 Cutting and
Editing Rooms
for color it’s
619 West 54th Street, New York 19, N. Y JUdson 6-0360
American Cinematocrapher
June, 1955
357
Now! A 400ft. Magazine
For Your BOLEX H-16
8 and 16mm
SERVICES
It's easy with the
MERCER FILM PATCH
Descriptive Chart & Price List
Mailed on Request
R.C. MERCER & COMPANY
4241 Normal Ave., Holywood 29, Calif.
NOrmandy 3-9331
(Continued from Page 335)
TOLEDO CINE ENGINEERING
1309 Milburn Ave. Toledo 4, Ohio
WORLD
send
FILMING “BLACKBOARD
JUNGLE”
film are used. One of the chief bugaboos
attending the use of ultra high-speed
films in the past has always been ex¬
cessive grain size. This graininess mani¬
fests itself on the screen in the form of
a coarse, indistinct “crawling” pattern.
Perhaps the most rewarding fact about
the use of Tri-X Pan in “Blackboard
Jungle” is that there is no apparent
graininess whatsoever. The overall quali¬
ty is as smooth as if the film had been
shot with an ultra fine-grain emulsion.
While Tri-X has twice the speed of East¬
man Super XX, it actually has less
grain.
In regard to grain, the manufacturer
warns that, as in the case of other nega¬
tive films, granularity increases with the
density of the negative. For this rea¬
son overexposure should be avoided in
general and particularly with Tri-X
Pan, because. it-4s-su fast that -thcre is
a greater danger of overexposure.
-''"The new film has a daylight speed of
250 and a tungsten speed of 200. It is
represented as requiring 13 foot-candles
of light at f/1.4, 50 at f/2.8, 100 at
f/4.0 and 400 at f/8. However, actual
Yootosure depends largely upon . -+fte
processing techniques used*^i2efause of
the high speed oTtiTe^fiTm and the lim¬
ited sensitivity of some exposure meters
an adequate exposure can often be gain¬
ed even when the illumination is so
low that a reading cannot be obtained,
especially when reflected light measure¬
ments are made. Under such conditions,
proper exposure must be determined by
actual test.
The high effective speed of Tri-X
Pan negative makes it ideal for use
under the poor lighting conditions often
encountered in newsreel photography. It
is useful in shooting scenes on dark
days or in large interiors like factories
and hotel lobbies under existing light
conditions where it would be difficult
or impossible to set up auxiliary light¬
ing-
In the studios it is ideal for shooting
background process plates of street
scenes from moving automobiles, etc. It
is also very useful in shooting inserts
because the lens can be stopped down
to insure depth of field.
Tri-X Pan was of great aid to direc¬
tor of photography Russ Harlan in
achieving the dramatic mood, realism
and stark documentary effect he was
after in “Blackboard Jungle.” The word
documentary has been much maligned
in that it has become almost a cliche
used to excuse poorly-exposed, out-of¬
focus, sloppily framed and just plain
bad photography. Harlan proves in this
film that dramatic photography can be
Complete
with
Synchronous
Motor
and Base
Permits continuous 400 ft. run of 16mm film —
the 200 ft. daylight loading spool may be used
in the 400 ft. magazine. The 100 ft. spool can
be used in the camera without removing ex¬
ternal magazine. Fully guaranteed. Can YOU
shoot a continuous wrestling match, prizefight or
football game? If not write for complete in¬
formation or see your Bolex dealer.
*-R*\
Ash about our Knt'k-Over , Sports -
finder and Camera Base.
Includes
Installation
and
Case
OPTICAL
EFFECTS
in
35mm
or
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Black-and-
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or
Color
•
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• WIPES
• SUPER-
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• MATTES
WRITE FOR FREE
OPTICAL CHART
RAY MERCER & CO.
4241 NORMAL AVENUE
HOLLYWOOD 29, CALIF.
NOrmandy 3-9331
In Wurld-Wid? Us?
Produce moonlight and night effects
in daytime. fog scenes « diffused focus
and many other effects.
Information mailed on request.
SCHEIBE FILTERS COMPANY
•RIGINATQRS.OF EFFECT FILTERS
P.o. lex 44834, Hellyweed 44, Calif.
©
A M KR IC AN ClN EM ATOGRAP HER
June, 1955
documentary-like and still have all the
professional polish and technical crafts¬
manship rightfully expected of Holly¬
wood feature productions.
“Tri-X Pan is a real cameraman’s
friend,” Harlan comments. “You can
shoot faster, lighting is greatly simpli¬
fied — and when you need depth you
can get it without burning up the set.
Another great advantage is that with
the lower light levels required, you can
judge lighting much better, whereas
with a high light level you constantly
have to refer to a meter to maintain an
accurate check of exposure. Not all
pictures should be shot on Tri-X, but
‘Blackboard’ Jungle was made to order
for it. Not only did it solve a lot of
problems for us, but this picture gave
us a chance to demonstrate all the ad¬
vantages of this remarkable new
negative.”
THE USE OF FILTERS
IN CINEMATOGRAPHY
( Continued from, Page 348)
down to the point where they will be re¬
corded on the gray scale in tones faith¬
ful to their value in the actual scene, it
is necessary to use biters that will ab¬
sorb or hold back the blue portion of the
spectrum. The following are some of the
biters most widely used for this pur¬
pose:
Aero 1 or Kl— Light yellow in color,
these biters transmit most of the visible
spectrum. They absorb only the shorter
wave lengths of the ultra-violet area, pro¬
ducing a very small degree of sky and
water correction.
Aero 2 or K2 — These yellow biters are
slightly deeper in tone than those de¬
scribed above. They absorb enough ul¬
tra-violet and blue-violet to produce a
noticeable darkening of the sky, allowing
clouds to stand out in contrast. They
slightly increase the contrast of distant
landscapes, but produce (in gray tones)
the closest approximation of correct col¬
or rendering as seen by the eye. They
do not alter the quality of ordinary pan¬
chromatic make-up.
G Filter — This is a deep yellow biter
which absorbs blue and violet complete¬
ly, plus a portion of the blue-green spec¬
trum. A very popular biter, it is espe¬
cially valuable in open landscape scenes
where there is considerable sky in the
composition. It renders sky and water
in rich gray tones, causing clouds and
foreground objects to stand out in clear
relief. It eliminates ultra-violet rays in¬
visible to the eye but which would re¬
cord as an overall haze on the blm, espe¬
cially in distant landscape scenes.
W ratten ff21 : Orange — Used with
panchromatic blm, it produces a slight
over-correction of blue and violet tones,
bringing out clouds in sharper contrast
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An intelligent approach to today’s
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OPTICAL PRINTER FOR
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Will print 4 times reduction to
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WRITE FOR COMPLETE LITERATURE
Headquarters for Professional Photographic Equipment Since 1920
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than does the G Filter. It is useful in
penetrating haze, especially with longer
focal length lenses. This filter causes
panchromatic make-up to be lightened
in some degree.
These four filters are, generally speak¬
ing, considered to be normally corrective
and are used to give a more faithful ren¬
dition of the scene in terms of black-and-
white tones. The following biters, on the
other hand, produce a marked over-cor¬
rection of true tonal values and, there¬
fore, fall into the category of effect fil¬
ters:
W ratten 23 A: Light Red — This filter
absorbs all of the blue-violet and most of
the green portions of the spectrum up to
a wave length of 5,600. It produces a
dark sky effect and rich cloud contrast
without appreciably lightening fore¬
ground subjects. Normal panchromatic
make-up is lightened slightly.
W ratten 25 A: Red — This filter pro¬
duces an even more dramatic effect than
the 23A and special make-up is neces¬
sary if faces show in the scene. This
filter is often used with infra-red him
to hold back blue and green light.
W ratten 29F: Dark Red — Produces
extreme contrast and over-correction. It
us used with panchromatic or infra-red
emulsions to create night effects in sun¬
light. Special make-up is necessary if
faces show in the scene.
W ratten 72: Deep Red — Absorbs all
light up to a wave-length of 5,900. It is
used almost exclusively for producing
night effects in sunlight with panchro¬
matic film. It creates a more natural ef¬
fect than the 29F, especially in closeups,
and no special make-up is required.
For softer night or “moonlight” ef¬
fects, a 23A (Light Red) and a 56B
(Light Green) filter can be combined
with pleasing results. For fantasy effects
or “dream” sequences, infra-red film is
used in combination with 25A, 29F, 70,
72 or 88A filters. In such filming, blue
skies are rendered very dark, with foli¬
age almost white, producing a very un¬
real pictorial quality. Careful applica¬
tion of special make-up is necessary.
Green filters are not widely used in
motion picture photography, but they
have special characteristics that some¬
times prove valuable. Because they trans¬
mit green light completely, they are espe¬
cially useful in photographing trees and
woodland scenes. The greens of the foli¬
age print brighter and with sharper de¬
tail, while blue skies go slightly darker.
Green filters are valuable in shooting
sunset scenes because they produce con¬
trast between reds and yellows, holding
back whatever portions of blue light are
present.
Under effect filters, we might properly
list diffusion biters and fog filters. These
are made by various manufacturers and
are usually available in 21/2 " round as
well as 2" and 3" square types that
fit into standard matte boxes. They are
available in a range of correction values,
and produce an overall diffusion or soft¬
ening of detail for pictorial or dramatic
effects.
Diffusion filters are effective in en¬
hancing the pictorial values in land¬
scapes and seascapes. In Hollywood stu¬
dios they are also used in shooting close-
ups of all female (and some male) sub¬
jects, since they tend to soften facial
lines and minimize unattractive features.
It must be remembered that the motion
picture cameraman cannot resort to
dodging, retouching or diffusion in en¬
larging, as does the still photographer.
Thus he must do all “correcting” at the
time the scene is shot by means of light¬
ing, proper make-up and the use of dif¬
fusion filters.
Fog filters are employed to produce
an ethereal haze or mist over a scene.
When smoke is blown onto the set at the
same time, a realistic effect of swirling
fog is created. Fog filters lend atmo¬
sphere to rain shots, dawn shots, water¬
front scenes, etc. They also serve to in¬
tensify the dramatic mood of sequences
played in graveyards, battlegrounds and
other outdoor locales where an eerie
quality is essential. Fog filters are avail¬
able in a variety of densities ranging
from a very light misty effect to a dense,
ghostly effect.
Neutral density filters reduce the
amount of light passing through the lens
but without affecting the color balance
or contrast of the scene. Gray in color
and available in a great range of den¬
sities, they are often used in combina¬
tion with color filters, diffusion filters,
etc.
The primary use of neutral density
filters is to allow the cameraman to work
at a certain lens aperture in order to
throw a background into softer focus
and concentrate attention on foreground
action. They are also valuable in cases
where the cameraman has only a fast
emulsion available and the subject is so
brilliant that he is not able to stop down
the lens far enough to get the desired ex¬
posure.
Graduated filters are used when it is
necessary to correct or hold back one
area of a scene while allowing the rest
to come through as it naturally would
record. Such filters are especially effec¬
tive when the cameraman wishes to re¬
duce the density of sky or water areas
in a scene without disturbing the normal
balance of other portions of the composi¬
tion.
Graduated filters, available generally
in 2" and 3" squares, are obtainable in
a great variety of densities and combina¬
tions. Some of the more popular types in¬
clude: Aero 1-to-clear, Aero 2-to-clear,
15G-to-elear, 25 Neutral Density-to-clear,
360
American Cinematographer
June, 1955
FRANK C. ZUCKER
Film Editing Made Easy
with NEW
professional
film viewer
Every film editor will appreciate a
viewer that enables him to view
his film from left to right — on a large,
brilliantly illuminated screen.
35mm Model $375
The Professional Film Viewer makes
film editing a breeze. Easy
threading, portable, will not
scratch film. Put this viewer between
your rewinders and speed up your
editing. Size of Viewing Screen 53A x 43A.
(Jflni€RH CquipmenT (6.
1600 BROflOUJRy \ fl€UJ yORK CITy
Write Dept. A-6-4
50 Neutral Density-to-clear, and 100
Neutral Density-to-clear.
Graduated filters must be lined up by
viewing directly through the lens, so that
the corrected area of the filter just
touches the horizon or landscape line.
Both camera and filter are then locked
securely in place, so that the foreground
will be photographed through the celar
portion of the filter while “hot” sky or
water areas are held back by the denser
portion of the filter.
In shooting color film, color filters are
rarely used unless some definite special
effect is intended. However, there are
now on the market filters which are used
to control color temperature. Sets of these
filters consist of from 10 to 22 separate
filters (depending upon the manufac¬
turer) which range from light to deep
amber and light to deep blue. Used in
conjunction with a color temperature
meter, such filters can be used to “warm
up” or “cool” the general color quality
of a scene.
For example, after four p. m. on an
ordinary summer day, sunlight will grow
redder as the sun descends toward the
horizon. Under such conditions flesh
tones will appear ruddy and unnatural.
Where a color temperature meter read¬
ing is taken and a blue filter of the indi¬
cated density is placed before the lens,
the “over-warm" quality of the light will
be modified to give the effect of normal
BRIGHTNESS and COLOR TEMPERATURE
Measured with ONE instrument . . .
DIRECT-READING BRIGHTNESS SPOT METER
Now Available On RENTAL
For detailed information on rental of different
models and accessories please write . .
PHOTO RESEARCH CORP.
KARL FREUND, President
127 West Alameda Ave.f Burbank, California
(After July 1st, at 837 No. Cahuenga Blvd., Hollywood 38, Calif.)
American Cinematographer
June, 1955
361
BIG SAVINGS
Factory Re-built
HOUSTON K-1A
FILM PROCESSORS
Chance of a lifetime to buy one of
these top quality Houston processors at
far below cost. Completely self-con¬
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reversal motion picture film. Easy to
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re-built and guaranteed by the original
manufacturer. Also available “as is”.
Limited supply. Write for catalog and
prices today.
HOUSTON FEARLESS
Div. Color Corp. of America
11801 W. Olympic Blvd.,
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Convert Your Auricon
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The only satisfactory
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Direct drive (no lag or speed¬
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and Prices
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HILLS FILMATIC
16mm Processor
HAROLD’S Photography & TV
308 South Phillips, Sioux Falls, S. D.
noon sunlight. Similarly, the “cold” light
of early morning can be modified
through the use of the proper degree of
amber filter.
Corrective filters are invaluable in
lengthening the shooting day when color
film is used. They are also effective in
“warming up” or “cooling down” a
scene for sheer dramatic effect. From a
technical standpoint they are an abso¬
lute necessity in achieving correct color
temperature when shooting scenes with
a combination of daylight and artificial
light.
Clear haze filters of special quartz
glass screen out stray ultra-violet light
and are used most effectively in color
filming to cut down haze in distant land¬
scapes, especially when lenses of long fo¬
cal length are used. Such filters have no
filter factor, which means that no in¬
crease in exposure is necessary when
they are used.
The Pola Screen is a special type of
filter useful both in black-and-white and
color cinematography. Made of Polaroid,
this filter almost miraculously eliminates
glare and unwanted reflections from
highly polished surfaces, as well as from
glass and water. Depending upon the
angle at which it is turned in relation
to the sun, it can be used to appreciably
darken a blue sky without affecting tone
renditions of other colors, thus provid¬
ing a sky filter for use with color films.
In using biters, great care should be
taken to see that such biters are of the
best quality (absolutely clear) and that
they are kept scrupulously clean. At best,
a perfectly clear biter will account for
a slight loss in resolution, and any im¬
perfection in the glass or dirt on the sur¬
face will compound this lack of sharp¬
ness. Filters that give perfectly satisfac¬
tory results when used with ordinary
lenses may sometimes produce a fuzzy
image when used with telephoto lenses,
because the large lens will magnify any
previously imperceptible defects or dirt.
For this reason, only the very highest
quality of biters should be used when
making telephoto shots.
CINEMASCOPE TECHNIQUES
(Continued from Page 337 )
no distortion nor would the camera have
to go in as close — also because of
using the 50mm lens. Thus, we have an
example of what happens in regular
picture making — less construction is
necessary, an extra set-up is unneces¬
sary, stereophonic sound has been used,
and above all, a commonplace scene is
fresh and new because of the different
treatment. Had this same scene been
done in a natural interior, it can be
understood why the necessary lights
could have been more readily used be¬
cause less of the ceiling area is included.
Naturally, one of the questions is —
“How do you make a scene in a tele¬
phone booth?” By this time, the situa¬
tion has been amply demonstrated in
several blms, especially “Night People,”
and the same logic applies as in the fore¬
going example except that it is no longer
necessary for the actor to crowd in on
top of the mouthpiece in order to hold
him in tthte picture. This leads us to
the question of the “Closeup.”
The closeup is actually a relic of the
silent him. It was necessary in those
days to show facial expression, because
the screen was small and there was no
dialogue to convey what the scene was
about. The closeup was carried over
into sound blms and is still useful for
dramatic effects. In CinemaScope it is
still used; however, because of the vast¬
ness of the theatre screen, the huge
“choker” closeups are no longer neces¬
sary. In fact, the bgure size of the
“two-shot” is larger on the modern
screen than was the “big head” on the
older, smaller screen. I personally pre¬
fer to use the “over-shoulder” shot when
closeups are required. This is possible
about ninety percent of the time and it
certainly lends itself to far more inter¬
esting composition plus effective use of
Stereophonic sound. With CinemaScope
there is still freedom of expression and
selectivity — no rigid rules exist.
It has been my experience that when
the Director rehearses a sequence, al¬
lowing the actors to make moves that
seem natural, and devising action to
keep the scene interesting, there is no
great problem in adapting the camera to
the scene so rehearsed. I believe the
camera should be btted to the action
and not the reverse as is so frequently
done. After all, we are telling a story
and the audience should never be aware
of the techniques involved. After the
geography of the set has been estab¬
lished, which is frequently done by the
characters entering the scene in a long
shot, I like to move in to a medium
shot which covers the action. Now if
the action is so staged that the
characters are maneuvered to positions
where the person having the most im¬
portant dialogue is in an advantageous
camera position, the camera can move
forward or back and pan when neces¬
sary with the action as long as it is
desirable to hold the scene.
I believe that it is more comfortable,
interesting and natural to the spectator
if scenes are sustained and a minimum
number of cuts are made. A vast screen
area approaching the periphery of
vision requires new adjustment of the
eyes each time the scene is changed.
The wise director will stage his scenes
to best use the advantages of this new
technique. These advantages are great.
362
American Cinematographer
June, 1955
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Click-stop diaphragm
Series VI Filter Holder and Sunshade
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for no longer must we confine the actors
to areas forward and backward from the
camera, but may now also use lateral
movement. Spreading out of the action
is what is done in stage productions,
and indeed CinemaScope technique is
like that of the theatre with the added
advantage of being able to move in with
the camera to accentuate the most im¬
portant portions of a scene. Speaking
of moving the camera, all of the estab¬
lished methods of motivating the
camera — cranes, dollies, etc. — can be
utilized provided the handling is
smooth, because any unsteadiness be¬
comes exaggerated on the wide screen.
As scenes are more interesting when
the players are in different planes of
depth, the usual problem of depth of
field is posed. I have found that a
practical solution is to work at a one-
thousand foot candle key for interior
day scenes. This permits a lens stop of
f/4.5 which is sufficient to carry quite
extreme ranges of focus.
All wide screen methods using 35mm
release film require critical attention to
the details which affect sharpness. This
is mostly a matter of film resolution, but
anything we can do to maintain maxi¬
mum sharpness in the camera is on the
credit side. Scenes of high contrast
usually appear sharper, when projected,
than those of a flatter nature, and it is
fortunate that modern color films can
be lighted with relatively high contrast.
With former color films, we had to use
a great amount of fill light to prevent
the shadow side of the faces from repro¬
ducing with an objectionable reddish
hue. Modern color films have the ability
to preserve shadow detail without color
distortion, so we may now use less fill
light to obtain more interesting light¬
ings and also enhance picture defini¬
tion. Night interiors now appear as
they should and, with the small amount
of fill light needed, the lighting level
is not unreasonable for comfort nor in
the amount of equipment used.
On large sets, the 10 k.w. lamp is the
most practical unit, while on smaller
sets, the 5 k.w. and 2 k.w. are the lamps
used at the light levels suggested above.
Obviously, the f/4.5 stop is not inflex¬
ible. Many natural interiors cannot be
lighted at 1000 foot candles and it is
not necessary unless there is a desire to
extend depth of field. With natural in¬
teriors, photoflood lamps and the smaller
incandescent units are successfully used.
The CinemaScope picture shape, as
previously described, was chosen be¬
cause it approximates the angle of vision
of the human eye. Therefore, the spec¬
tator becomes a participant of each
scene. With this fact in mind, it is good
showmanship to devise as many camera
angles as possible for “audience partici¬
pation.” Low camera set-ups, views
taken straight ahead from moving
vehicles, etc., all create audience stimu¬
lation that lends excitement and enjoy¬
ment to the production. They should be
used whenever logically possible.
Rear projection scenes are easily ac¬
complished and some, such as auto¬
mobile interior scenes, are enhanced in
CinemaScope. Where formerly we
could only see through the rear
window, now we can also include the
side windows, thus obtaining greater
reality and a better conception of the
speed of the vehicle. Those scenes
which include the driver are a natural
composition for CinemaScope. In cases
where the background screen has to be
larger than is possible with rear projec¬
tion, the “traveling matte” method is
used. In the former case, the plates are
made without the CinemaScope lens.
One of the contributing assets of the
CinemaScope system is stereophonic
sound. This has done much to add a
new quality of reality to the screen, and
is capable of further imaginative treat¬
ment to realize its fullest possibilities.
The public has come to recognize the
improvement in sound quality and
naturalness and there is considerable
evidence that it likes the new effect
created by the surround loudspeakers.
The seven or eight major producers
releasing stereophonic magnetic prints
in CinemaScope have taken cognizance
American Cinematocrapher
June, 1955
363
DUNNING ANIMATIC
INTERVAL METER
For Time-Lapse
Photography
Compact electronic timer for ac¬
curate interval exposures. Battery
operated. (Models also for A.C.
or strobe life operation.) Actuates
camera shutter at intervals of
1 -sec. to 1 -min.
Single-frame pull-down attach¬
ments available for Cine-Special
and Bolex H-16 cameras.
Write For Literature
Electronic Timer . $98.00
Pull-Down Attachment . 48.00
ANSON RESEARCH COMPANY
4337 Clybourne Ave., No. Hollywood,
California
Synchronous Motor Drive for
16mm Projectors
Especially designed to drive all Bell & Howelll
and Ampro 16mm projectors at synchronous
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The synchronous motor drive can be instantly
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time. No special technical knowledge re¬
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The synchronous motor drive is complete with
base-plate, Cannon plug for cable and power
switch, and a set of reduction gears.
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Also available on special order. Synch. Motor
Drive for all Simplex 35mm portable projectors.
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ENGINEERING COMPANY
500 West 52nd St., New York 19, N.Y.
PLaia 7-3511
DESIGNERS AND MANUFACTURERS OF
MOTION PICTURE — TV EQUIPMENT
of the public’s wishes and are making
greater use of the surround effects in
recent pictures. The use of stereophonic
sound does not create any hardship in
production.
In studio practice, three small micro¬
phones are spaced laterally at the end
of the usual sound boom. The spacing
is varied according to the nature of the
scene and the microphone positions are
easily manipulated as required by
camera movement or to maintain in¬
telligibility. Sensible effort is always
applied to get original stereophonic re¬
cordings. When this is impossible or
impractical, stereophonic post-dubbing
is used to replace the dialogue of scenes
which are good for picture but unac¬
ceptable for sound.
Theatre attendance has been greatly
stimulated by the advent of Cinema-
Scope, and the producer has the oppor¬
tunity now to present his stories in a
fresh and exciting medium through this
modern technique. end
CAMERAVISION
(Continued from Page 341)
venient bank of dials located at the rear
of the camera — shown at (5) in Fig. 6.
But before describing this feature,
another unique innovation should be
mentioned — that of the automatic, built-
in exposure meter which also registers
its readings on a d’al located in the
same bank mentioned above. The photo¬
electric cell is actually three cells in one,
each in a tubular housing and mounted
on a rotary turret in the front of the
camera, where the active cell reads the
light value of the scene immediately
before the camera. The three cells match
the three pairs of camera lenses in re¬
spect to coverage of field, thus insuring
infinite accuracy in readings. As the
lens turrets are rotated to bring the de¬
sired lens into taking position, the cor¬
responding photoelectric cell is auto¬
matically rotated to “reading” position.
This component may be seen at (2) in
Fig. 4. Figure 2 shows the orifice (1)
provided in the camera blimp that per¬
mits the photocells to scan the scene.
Now to get back to the bank of dials
at the rear of the camera, which was
mentioned earlier: Located just above
the finder hood, they enable the camera
operator to see at a glance (a) the
exposure meter reading; (b) the lens
aperture setting; (c) focus in feet; and
(d) the size of the lens in “taking”
position. Other dials immediately to the
left of these enable him to set the ex¬
posure meter for the film speed and
shutter opening used in the film camera
— similar to the adjustments normally
made for this purpose on a hand-held
exposure meter.
All six lenses on the CameraVision
camera — 3 on the TV camera and 3
on the film camera — are focused and the
diaphragms set automatically and simul¬
taneously in the manner described
above. The scheme for linking the lenses
together to facilitate the automatic con¬
trol was the most difficult problem en¬
countered in the design and construction
of the camera.
One of the important features of the
camera, of course, is its electronic
finder — shown at 6 in Fig. 6 — which
shows the exact field taken in by both
the film and the television recording
units. Here, the parallax problem was
solved in a unique and quite simple
way. Instead of approaching the solution
through beam-splitters and the utiliza¬
tion of a single lens as the pickup
medium for both camera units, Camera-
Vision engineers borrowed a page from
the 3-D camera designers and arranged
for the television camera to swivel on
its base, changing convergence auto¬
matically as the lens controls are oper¬
ated from the rear. By this method,
absolute parallax correction is assured
down to a distance of two feet.
The CameraVision system of motion
picture production involves more than
just the camera, which has been de¬
scribed here. In addition, and as a
vital integral part of the system, is the
40-foot mobile control unit or van,
which may be seen back of the camera
in Fig. 1. Herein is the master video
control room, audio section where sound
is recorded on magnetic film, and the
high-speed film processing equipment
for rendering a quick-kine or film rec¬
ord of any part or all of a production,
as will be described later.
The master control room is equipped
with viewing monitors for each Camera-
Vision camera connected in closed cir¬
cuit (Fig. 2). In addition, there is
the master monitor which shows the
images selected by the “mixer” or
control engineer whose function is
to edit the scenes, as they are re¬
corded by the cameras, into an actual
motion picture take, whenever a kine¬
scope record is to be run on the pro¬
duction. This is an important step in
the CameraVision production method,
for the “kinescope” is utilized something
like a “work print” of the production —
as an editing guide in cutting the takes
recorded by the two or more Camera-
Vision cameras. It includes all the neces¬
sary fades, dissolves, wipes and other
special effects which are made elec-
rtonically as the picture is photo¬
graphed. It should be explained here
that this kinescope or “editing guide”
is photographed directly from a TV
tube in the usual kinescope recording
method — an operation that is conducted
in the mobile unit.
The monitor controls serve still an-
364
American Cinematocrapher
June, 1955
Predion Euilt Combination Sound Readers
OPTICAL
Model 600 . 16mm and 35mm
NET PRICE $185.00
OPTICAL-MAGNETIC
Model 800 . 16mm, 35mm & Va inch
NET PRICE $259.50
MAGNETIC
Model 700 _ 16mm, 17.5mm, 35mm
and Vi inch
NET PRICE $198.00
FEATURES: Simple threading . . . polished stabilizer drum with needle bearings, with a surface which cannot damage
film . . . film rollers machined to conform with SMPTE standards, and equipped with oilless bearings . . . precision
ground shafts . . . dimension 6x6x7 '/2 inches.
AMPLIFIER: 117 volt — 60 cycle — AC . . . power output — 4 watts . . . heavy duty Alnico
V speaker . . . safety fused . . . prefocused socket . . . pilot light ... 6 ft. heavy duty cord.
All Prices F. O. B. Factory, Brooklyn, New York
Write for Literature
PRECISION LABORATORIES • 1139 UTICA AVENUE • BROOKLYN 3, NEW YORK
other phase of the system — that of di¬
rection of the action and the photogra¬
phy. With CameraVision, as Mr. Rivero
points out, the director of photography
assumes a position that is all the name
director implies, in that he actually di¬
rects the operation of his multiple
cameras from the monitor console, re¬
laying instruction to the various camera
operators via intercom phones. Here,
working together as a production unit,
are all the key technical men responsible
for the production.
In the recent demonstration, Mr.
Rivero pointed out how the kinescopes
can aid the director in planning and
shooting production numbers in big
musicals. The action can be rehearsed
in two or more ways at which time it
is recorded via the TV camera by kine¬
scope. Within a matter of minutes, this
video film recording can be quick-
processed and screened, enabling the
director and the cameraman to choose
the most desirable action for the final
film take. In making the kinescope, the
film camera unit of CameraVision does
not operate. The kinescope is recorded
on film in the master control room of
the mobile unit.
This feature enables the director as
well as other key production personnel
to see, within 60 seconds after the ac¬
tion is picked up by the camera, a
complete kinescope recording for the
(Continued on Page 368)
American Cinematographer
June, 1955
365
Ideal for TV,
newsreel, industrial and
educational films. Does complete
reversal processing job, from camera to
projector, in 25 minutes including
developing, reversing, bleaching, fixing,
washing, drying, footage count.
A complete negative, positive, and
Specially priced, rebuilt, equal of new,
for a limited time only. . . $2495
Also available in used condition
at big discounts.
Write for details.
Houston 16mm
Processing
Machines
gordon enterprises
5362 NORTH CAHUENGA BOULEVARD
NORTH HOLLYWOOD, CALIFORNIA
TELETYPE: WUX, NORTH HOLLYWOOD
RUBY CAMERA EXCHANGE
Rents . . . Sells . . . Exchanges !
Everything You Need for the
Production & Projection
of Motion Pictures Provided
by a Veteran Organization
of Specialists §
35 mm . 16 mm. £
Television
IN BUSINESS SINCE 1910
7 29 Seventh Ave., New York 19, N. Y.
Tel.: Circle 5-5640
Cable address: RUBYCAM
Automatic dissolve attachments for Cine'
Special and Bolex H-16 and 8 (Equipped
with Pellegrini Shutter)
JOSEPH YOLO, 1037 N. La Brea
Phone GL. 7103 Hollywood, California
HOLLYWOOD STUDIO PRODUCTION
Feature and television film productions for which members of the American Society of
Cinematographers were engaged as Directors of Photography during the past month.
AMERICAN SOCIETY
OF CINEMATOGRAPHERS
FOUNDED January 8, 1919, The Ameri¬
can Society of Cinematographers is com¬
posed of the leading directors of photog¬
raphy in the Hollywood motion picture
studios. Its membership also includes non¬
resident cinematographers and cinematog¬
raphers in foreign lands. Membership is
by invitation only.
•
Arthur Miller, President
Sol Halprin, First Vice-President
William Skall, Second Vice-President
Alfred Gilks, Third Vice-President
Walter Strence, Treasurer
Charles G. Clarke, Secretary
Robert de Grasse, Sergeant-At-Arms
BOARD OF GOVERNORS
Joseph Biroc
George Folsey
Burnett Guffey
WlNTON HoCH
Hal Mohr
Ray Rannahan
Leon Shamroy
Philip Tannura
ALTERNATE BOARD MEMBERS
Ellis Carter
Paul Eagler
Farcion Edouart
Irving Glassberg
Milton Krasner
Ernest Laszlo
Robert Pittack
John Seitz
James Van Trees
Paul Vogel
ALLIED ARTISTS
William Sickner, “Night Freight.” Jean Yar¬
brough, Director.
Ellsworth Fredericks, “Gun Point, (Tech¬
nicolor; CinemaScope). Alfred Werker, di¬
rector.
COLUMBIA
Ray Rannahan, “Marshall of Medicine
Bend,” (Scott-Brown Prod.) Joseph Lewis,
director.
Henry Frf.ulich. "The Houston Story,” Wil¬
liam Castle, director.
William Mellor. “Last Frontier,” (Techni¬
color; CinemaScope). Anthony Mann, di¬
rector.
James Wong Howe, “Picnic,” (Technicolor) :
CinemaScope) Josh Logan, director.
METRO-GOLDWYN-MAYER
Robert Surtees, “Trial,” (CinemaScope),
Mark Robson, director.
George Folsey, “Forbidden Planet,” (Color;
CinemaScope). Fred Wilcox, director.
Robert Planck, “Diane,” (EastmanColor;
CinemaScope). David Miller, director.
Joseph Ruttenberg, “Kismet,” (Eastman-
Color; CinemaScope). Vincente Minnelli, di¬
rector.
PARAMOUNT
Loyal Griggs, Peverell Marley, “The Ten
Commandments,” (Technicolor; VistaVision).
Cecil B. DeMille, producer-director.
Daniel Fapp, “Artists & Models,” (Hal Wal¬
lis Prod. Technicolor; VistaVision). Frank
Tashlin, director.
Robert Burks, “The Man Who Knew Too
Much,” (Technicolor; VistaVision). Alfred
Hitchcock, producer-director.
R.K.O.
Joseph Biroc, “Bengazi,” (Technicolor; Sup¬
ercope). John Brahm, director.
William Snyder, “Treasure of Pancho Villa,”
(Technicolor; Superscope). Geo. Sherman, di¬
rector.
20TH CENTURY-FOX
Lucien Ballard, “Seven Cities of Gold,”
(Color; CinemaScope). Robert Webb, di¬
rector.
Leo Tover, “The Tall Men,” (Color; Cinema¬
Scope). Raoul Walsh, director.
UNIVERSAL-INTERNATIONAL
William Daniels, Tom Tutweiler, “Away
All Boats,” (Technicolor; VistaVision). Jo¬
seph Pevney, director.
George Robinson, “The Kettles in the
Ozarks,” Charles Lamont, director.
Maury Gertsman, “A Time Remembered,”
(Technicolor). Jerry Hopper, director.
WARNER BROTHERS
Ernest Haller, “Rebel Without a Cause,”
( WarnerColor; CinemaScope). Nicholas Ray,
director.
Hal Rosson, “Pete Kelly’s Blues,” (Warner-
Color; CinemaScope). Jack Webb, director.
John Seitz, “The Darkest Hour,” (Warner-
Color; CinemaScope). Frank Tuttle, director.
Russell Mf.tty, “Miracle in the Rain,” Rudy
Mate, director.
William C. Mellor, “Giant,” (WarnerColor;
Cinemascope). George Stevens, director.
INDEPENDENT
Harry Stradlinc, “Guys and Dolls,” (Samuel
Coldwyn Prod., Technicolor; CinemaScope).
Jos. L. Mankiewicz, director.
366
American Cinematographer
June, 1955
Joseph LaShelle, Storm Fear,” Theodora
Prods. Cornel Wilde, producer-director.
Erest Laszlo, “The Big Knife,” Assoc. -Aid-
rich Prods. Robert Aldrich, director.
Samuel Leavitt, “Battle Hell,” Chester Prods.
Lewis R. Foster, director.
Wilfrid Cline, The Indian Fighter, Bryna
Prods. (Color; CinemaScope). Andre de Toth,
director.
TELEVISION FILMS
Lucien Andriot, “It’s a Great Life,” “The
Life of Riley.”
George C. Clemens, “Schlitz Playhouse of
Stars.”
Robert Df.Grasse, “Those Whiting Girls.”
Ed Fitzgerald, “You Are There.”
Frederick Gately, “Cavalcade of America.”
Jack Mackenzie, “Public Defender,” “Pass¬
port to Danger.”
Virgil Miller, “You Bet Your Life.”
Hal Mohr, “Life With Father.”
Nick Musuraca, “Lineup.”
Kenneth Peach, “Dr. Hudson’s Secret Jour¬
nal,” “Steve Donovan, Western Marshal,”
“Gangbusters.”
Henry Sharp, “Sheena, Queen of the Jungle.”
Mack Stengler, “It's Fun to Reduce,” "Ina
Ray Hutton Show.”
Walter Strenge, “Waterfront.”
Alan Stensvold, “Andy’s Gang.”
Phil Tannura, "Burns and Allen Show.”
James Vantrees, “Burns and Allen Show.”
Harry Wild, “Bob Cummings Show.”
Lathrop Worth, “So This Is Hollywood,”
“The Great Gildersleeve.”
WHAT’S NEW
( Continued, from Page 322)
Filters Unlimited
Scheibe Filters Co., Box 46834, Hol¬
lywood, reports that increased facilities
now enable company to make every pos¬
sible type and size photographic filter.
Pro 35 Lenses
A recently published four-page bro¬
chure illustrates and describes the
W ollensak line of Raptar “Pro 35”
lenses for 35mm professional motion
picture cameras. Write to Wollensak
Optical Co., Rochester, New York.
Editing Equipment
Movie amateurs now may assemble
their own editing outfits easily and
economically by purchasing Craig Movie
Editing components separately and
mounting them on a board or editing
table. A pair of Craig rewinds and a
Craig splicer costs less than Si 8.00. A
Craig film viewer can be had for S49.50.
For illustrated brochures on Craig ed¬
iting equipment, write to The Kalart
Company, Plainville, Conn.
COMPLETE MOTION PICTURE EQUIPMENT
FROM ONE SOURCE
CAMERAS
MITCHELL
16mm
35mm Standard
35mm Hi-Speed
35mm NC • 35mm BNC
BELL & HOWELL
Standard • Eyemo * Filmo
ARRIFLEX
16mm • 35mm
WALL
35mm single system
ECLAIR CAMERETTE
35mm • 16/35mm
Combination
AURICONS
all models single system
Cine Kodak Special
Maurer • Bolex
Blimps • Tripods
DOLLIES
Fearless Panoram
Cinemobile (CRAB)
Platform • Western
3 Wheel Portable
LIGHTING
Mole Richardson
Bardwell McAlister
Colortran
Century
Cable
Spider Boxes
Bull Switches
Strong ARC-Trouper
10 Amps 110V AC 5000W-
2000W-750W
CECO Cone Lites
(shadowless life)
Gator Clip lites
Barn Doors
Diffusers
Dimmers
Reflectors
WE SHIP VIA AIR, RAIL
EDITING
Moviolas • Rewinders
Tables • Splicers
Viewers (CECO)
GRIP EQUIPMENT
Parallels • Ladders
2 Steps • Apple Boxes
Scrims • Flags
Gobo Stands
Complete grip equipment
SOUND EQUIPMENT
Magnasync-magnetic film
Reeves Magicorder
Mole Richardson Booms and
Perambulators
Portable Mike Booms
Portable Power Supplies to
operate camera and recorder
OR TRUCK
FRANK C. ZUCKER
(JflmeRR €ouipmenT (6.
Dept. A- 6- 19 • 1600 Broadway • New York City
Model 35-16C
SENSITESTER
★ IMMEDIATE DELIVERY
to the lab owners interested in —
QUALITY
EFFICIENCY
ECONOMY
• DUAL MACHINE
1 — Sensitometer
2 — Scene Tester
• HIGHLY ACCURATE
Electronic timer unaffected
by climatic changes.
• NEW TYPE LONG-LIFE
Cold Light Exposure Unit
• WITHOUT ADDITIONAL
EXPENSE will match any
printer
Combination 35mm-l 6mm
ART REEVES MOTION PICTURE EQUIP.
7512 Santa Monica Blvd.
Hollywood 46 California
American Cinematographer
June, 1955
367
Advantage Never Before Offered!
SWIVEL BALL JOINT
ATTACHMENT
for
PRO JUNIOR and F & B TRIPODS
Swivel Ball Joint Attachment can be mount¬
ed between head and tripod body in a few
seconds and without any technical knowl¬
edge. Swivel Ball has enough tightening
strength to hold the largest and heaviest
movie cameras, permits leveling camera
quickly when tripod is set up on uneven
ground. Ball Attachment is made of light¬
weight aluminum, weighs approx. 3 '/2 lbs.
Ten Day Money-Back Guarantee
Write for Catalog and Prices
CINEKAD
ENGINEERING COMPANY
500 West 52nd St., New York 19, N.Y.
PLaza 7-3511
DESIGNERS AND MANUFACTURERS OF
MOTION PICTURE— TV EQUIPMENT
MOVIOLA
FILM EDITING
EQUIPMENT
1-JMM - 35MM
• PICTURE
SOUND
Photo and
Magnetic
• SYNCHRO¬
NIZERS
• REWINDERS
One of the
new series 20
Moviolas for
picture and
sousd.
Write for
Calaltfue
MOVIOLA MANUFACTURING CO.
1451 Gordon St. • Hollywood 28, Calif.
Video Film Laboratories
131 West 23rd Street
New York 11, N.Y.
Complete 1 6mm laboratory service for
Producers using the Reversal Process
Also 1 6mm Negative and Positive
developing.
WRITE FOR PRICE LIST
Established 1949
CAMERAVISION
(Continued from Page 365)
purpose of previewing and pre-editing
a shot, a scene or an entire 33 minutes
of action before it is photographed by
the motion picture camera. The usual
wait for dailies is thus avoided with
consequent savings in production time.
The usual time required for editing a
him can be materially reduced because
of the pre-editing afforded by the kine¬
scopes.
There is nothing in the Camera-
Vision system that in any way affects
photographic quality in feature him pro¬
duction. The him camera itself is the
very unit which is used in photographing
the majority of productions today — a
Mitchell. The same lighting techniques
are employed and the camera is afforded
the same mobility as conventional major
studio cameras. But, as Arthur Lyons,
points out, the speed of shooting a pro¬
duction can be materially increased.
Lyons, who has been closely associated
with top stars and him producers in
Hollywood for years, emphasized that
any new system of photographing fea¬
ture hlms must hrst and foremost never
degrade photographic quality. “No cam¬
era can be used today,” he said, “which
will in any way produce inferior pho¬
tography of players. This applies es¬
pecially to Hollywood stars whose repu¬
tations have been built substantially by
the painstaking and artistic camera
work of the industry’s top directors of
photography. No theatre owner, much
less the stars and producers, will tolerate
pictures in which technical quality is
sacrihced by the use of some new¬
fangled system promising only reduced
production costs.”
“The mechanical developments in the
optical phase of CameraVision,” Lyons
continued, “such as the automatic iris
and focusing controls, are even more
revolutionary in their direct effect upon
reduction of production costs while
maintaining top photographic quality.
“It is owing to these practical accom¬
plishments that CameraVision is capable
of photographing an entire scene with
general set lighting, thus eliminating
the necessity of varying camera setups,
or relighting and refocusing for each
long shot, medium shot or closeup. Cam¬
eraVision reduces drastically the current
practice of exposing some 100,000 to
500,000 feet of negative for a feature
picture which emerges from the cutting
room reduced to 7,500 to 10,800 feet
of finally edited film.
"Finally, I want to point out that
CameraVision is equally adaptable to
exterior as well as interior filming. The
mobile control room is easily transport¬
able to location sites by means of its
special tractor unit.”
THE TREND TO WIDER NEGATIVES
(Continued from Page 333)
The present standard of 35 milli¬
meters was arrived at purely by chance,
as Mr. Gregory pointed out, being
largely due to the coincidence that the
standards independently arrived at by
Edison and Lumiere coincided to with¬
in 1/1000 of an inch. This width film
gave a frame of 18 mm. x 23 milli¬
meters, and when the great theatres of
the present came into being with colos¬
sal throw and large screen, a tremend¬
ous enlargement of this tiny picture was
necessary. This can be done only to a
certain point, and then the matter of
grain interferes.
Then, too, the exigencies of sound
pictures added another problem. The
addition of the sound track to the film
reduced the already too narrow frame.
The advent of the stage revue type of
picture also called for something larger
than the 35 millimeter film and the
size screen used for it.
Even before the coming of sound,
many cinematographers, directors and
laboratory men thought the standard
four-to-three proportions of the frame
was too high in proportion to width to
be artistically correct. With the addi¬
tion of the sound track this frame was
reduced almost to a square, and there
has been much effort on the part of
theatre owners and others to restore
even the old rectangular proportions by
means of shorter focus lenses and re¬
duced projector apertures.
It was with this thought in mind to
create a size film that would be more
satisfactory for use in sound, and one
which would give a greater picture on
the screen, with an angle of greater
width, that the Fox company started ex¬
periments which finally resulted in the
Grandeur film.
From a practical viewpoint Grandeur
offers many advantages over 35 milli¬
meter. The director can film his spec¬
tacular scenes and dancing numbers
with fewer cuts and no closeups. The
cameraman has greater scope in his
composition and much advantage in his
lighting. Backlighting under the 35
millimeter conditions, since sound came
and changed the proportions of the
frame, has been difficult.
368
American Cinematographer
June, 1955
CLASSIFIED ADVERTISING
1 Oc per word, minimum ad $1.00. Words set in capital letters except 1st word and advertiser's name, 15c per word. Modified display
format 90e per line. No discount on classified advertising. Send copy with remittance to editorial office, 1782 No. Orange Drive, Hollywood
28, Calif. Deadline 15th of month preceding date of issue.
STUDIO & PRODN. EQUIP.
FOR SALE
FOR SALE
A QUARTER MILLION DOLLAR SELECTION
TRADE AURICON PRO or CINEVOICE for latest
Auricon 600 — allowances up to . $1250.00
CINEX EXPOSURE TESTING MACHINES — used
by leading labs. Originally $4000.00 —
Rebuilr . 1995.00
NEW CAMERACLAIR 35mm STUDIO CAMERA;
pilot pins,- focus thru film; shoots single
frames,- five f2 lenses — 25/28/35/50/
100mm; 12-400' magazines. Ideal for ani¬
mation and slide films. $3,500 value . 995.00
CINEFLEX 35mm REFLEX CAMERA w/6 fast
lenses,- 2-400' magazines; 2 motors; $2500
value . 995.00
B & H 35/1 6mm REDUCTION PRINTER, $6000
value . 3495.00
EASTMAN AIRGRAPH 16/35mm FILM DEVEL¬
OPING MACHINES. Fixes, washes and
dries. Stainless steel tank and drum, drive
motor, heater, blower, $1800 value. Gov't
Surplus. New . 295.00
Good used condition . 225.00
EASTMAN AUTOMATIC FILM WAXER, $1200
value. Rebuilt . 795.00
400' MAGAZINE CONVERSION w/counter for
Auricon Cinevoice. New . 495.00
Same with 1200' mag & motor takeup . 695.00
B&H 16mm FILMO SPECIALIST CAMERA w/
rackover,- matte box, Mitchell type Finder;
syncmotor- 400' mag- w/case. $2000 value 995.00
MITCHELL TRIPOD FREEHEAD w/panhandle,
case . 375.00
BA RDW ELL- MCA LISTER MULTIPLE FLOOD-
LITES, 3 Quadruple Heads to hold 12 bulbs
on rolling tripod stand. Orig. Gov’t Cost
$180.00. Surplus . 29.50
BM QUADLITE Heads only $4.95. Stands only 19.95
SOUND MOVIOLA 35mm UDS on rolling
stand. Rebuilt . 995.00
NEW ENCLOSED FILM STORAGE CABINETS,
capacity 20-400' reels, 2 drawers, gray
enamelled, $37.50 value . 14.95
Lots of 3 — $12.95. Lots of 6 . 9.95
BRIDGAMATIC JR. 16mm FILM DEVELOPER
with bottom drains, spray wash, improved
drybox, rotary air pump, varispeed trans¬
mission, reconditioned. $1900 value . 1225.00
NEW 1500W NEWSREEL FLOODLITES, $100
value. Close out . 39.50
NEW FRESNEL STUDIO SPOTS, lead wires,
switch, pipe clamp, 2000 Watt . $59.95
5000 Watt . 99.95
PORTABLE MIKE BOOMS, 11 ’/2 ' extension arm
on 5' perambulator . 139.50
Same with 15' extension arm . 159.50
TIME LAPSE INTERVAL Meters for Bolex and
Cine Special, complete . 146.00
CINE SPECIAL I CAMERA with 2 lenses . 337.50
TRADES TAKEN Cable: SOSOUND Dept, fc
S.O.S. CINEMA SUPPLY CORPORATION
602 W. 52nd Street, New York 19. Phone PL 7-0440
FOR SALE
WE ALWAYS HAVE BARGAINS
in Professional 35 & 16mm equipment.
CAMERAS — LIGHTS
MAGNETIC and OPTICAL
RECORDERS and PLAYBACKS
MOVIOLAS — DOLLYS — BOOMS
Send for our constantly changing list.
Hundreds of Other Production Items.
Write — Wire — Phone
CINEMA SERVICE CORP.
106 West End Avenue, New York 23, N.Y.
TRafalgar 3-1411
SIMPLEX SYNCHRONOUS 35 arc projector Model MI-
1040. Rear shutter. Sync motor. 5-point stand. RCA
1040 soundhead. Strong rectifier and lamphouse.
2-16" magazines. Perfect condition for film phono¬
graph and theater projection. BOX 1209, AMERICAN
CINEMATOGRAPHER.
ARRIFLEX 35mm, 12-volt, four lenses, six 200 ft. mag¬
azines, metal carrying case. Tripod adaptor, cables.
Like new, $800.00. Will send photos and complete
description. MAYFIELD PHOTOS, INC., Dayton 2,
Ohio.
16MM HOUSTON K-1A . . . developing machines.
For reversal or positive film. Complete with
refrigerator units, temperature control, condensors,
evaporators, thermostats, etc. BRAND-NEW, prices
reduced! Write. AIR PHOTO SUPPLY, Dept. C-l,
555 E. Tremont Ave., New York 57, New York.
OUR 26th YEAR ★ ★ ★ ★ SUPPLYING EVERYTHING
PHOTOGRAPHIC AND CINEMATIC
RADIANT FOLD-PAK WASHABLE SCREEN un¬
used. 1 2'xl 6' New Value $215.00 . $ 125.00
ART REEVES SENSITESTER Combination 35mm
and 16mm. Value $2,000.00. Special . 595.00
HOMRICH ELECTRONIC TIME CONTROL CON¬
TACT PRINTER. Timer has full second and
split second setting. Handles 4x5, 5x7, 8x10
negatives. Adjustable masking and paper
guides. Internal glass dodging plate. Four
lamps, each controlled by separate toggel
switch. A real buy! . 165.00
B&H 16mm FILMO CAMERA Model 70-DA
with 17mm f2.7 Wollensak, 1" fl .5 Dal-
meyer, 2" f2.8 Schneider. 3" f4 B & H
Teletar, and 6" f4.5 Telephoto Xenar
Lenses; 2-400' Magazines; Motor; Wells
Semi-Professional Tripod: Carrying Case.
Value $1,695.00. Special . 1150.00
STANDARD MITCHELL 12 V Variable Speed
Camera Motor. Factory Guarantee . 300.00
Also 110 V AC-DC Motor with Tachometer.
Value $580.00 . 395.00
35mm B&H SINGLE SYSTEM SOUND CAM¬
ERA. Lenses: 40mm, 50mm, 75mm, 125mm.
Modulite galvanometer, amplifier, motor.
Tachometer. 2-1000' magazines, Tripod
with Freehead, quick release legs, carry¬
ing cases. Guaranteed..' . . . 3250.00
SCHOEN PRINTER, sound and silent, color,
B & W. Features: 16mm picture & sound
together, film capacity 1600 feet, 50' per
minute,- 12 adjustable light changes,- AC-DC
conversion unit . 999 00
LACO INCANDESCENT LAMP 24" Reflector.
Five Kilowatts. Rolling Stand. Value
$246.00. Special . . . 110.00
35mm DUPLEX PRINTER Adapted for sound
track, excellent for duping. Academy Aper¬
ture. Speed 250 pictures per minute per
side. Two light change boards, 18 different
lights each side, 21 scenes. Motor 110 V,
perfect mechanical condition . . . 875.00
MOLE RICHARDSON combination Microphone
and Lamp BOOM. Rolling stand. Special. 235 00
B&H CAMERA CHECK PAWL. High speed
Shuttle. List Price new, $1742.00. In good
condition . 1 95 00
B & H 12V or 24V EYEMO & FILMO ’MO¬
TORS. New. Value $142.00 . 95.00
MOLE RICHARDSON 2000 Spot, rolling stand 110.00
MITCHELL COMBINATION Freehead and Gear-
head Professional TRIPOD . 365 00
ENLARGERS, EXCELLENT CONDITION, EL-
WOOD. Auto focus, lens and stand. Size
5x7 . _ . 235.00
Size 8x10 . 400.00
SPECIALIZING IN MOVIE AND TELEVISION SUPPLIES,
TRIPODS, SYNCHRONIZERS. 16mm SOUND CAMERAS
lights, lenses, mikes, booms, dollies, motors, etc.
New — Used. Reasonable prices. Cash for used equip¬
ment. Trades taken.
HOLLYWOOD CAMERA EXCHANGE, LTD.
1600 CAHUENGA BOULEVARD, HOLLYWOOD 28, CAL.
LIKE NEW
BELL & HOWELL STANDARD 35mm CAMERA,
PRECISION MITCHELL TYPE RACKOVER,
MITCHELL UPRIGHT VIEWFINDER
IN FIRST-CLASS CONDITION.
ART REEVES MOTION PICTURE EQUIPMENT CO.
7512 Santa Monica Blvd.
Phone HO 4-1492
Hollywood 46, Calif.
WALL S. S. 35MM. SOUND CAMERA
COMPLETE with Galvanometer, amplifier, portable
power supply, 40-50-75 and 100mm. lenses, erect
image viewfinder, complete front attachments, two
1000 ft. magazines. Balanced Tripod, necessary
carrying cases. Overhauled. Guaranteed perfect.
Reasonable.
CAMERA EQUIPMENT COMPANY
1600 Broadway New York 19, N. Y.
BASS ... is headquarters for Arriflex 16; the new
Zoomar 16; Cine Specials, all models,- Bell &
Howell 70-DL; Bolex H-16; Used Cine Special II,
1" F: 1 .4 Ektar, new Par finder, case, $875.00;
H-16 DeLuxe Bolex, 1" Fil.4 Biotar, $245.00;
B.&H. 70DL, 1" F: 1 .9 Comat, case, $275.00; B.&H.
70DA, 1" F: 1 .8 Cooke, case, $175.00; Victor 5,
1" F: 1 .5, 15mm F:2.7, 3" F:3.5, case, $165.00.
Best buys . . . Best trades always. BASS CAMERA
CO., Dept. CC, 179 Madison St., Chicago 2, III.
ONE RCA 35mm recorder with galvanometer, $2950;
one rackover B&H camera with Fearless movement
and 3 lenses, $2250; one Hallen 16mm magnetic
dubber, $495; one Eastman 35mm waxing ma¬
chine, $545 one Raby blimp, $650; one Raby
gearhead, $650. AMERICAN CINEMATOGRAPHER,
Box 1210.
WE BUY, SELL AND RENT PROFESSIONAL AND 16mm
EQUIPMENT, NEW AND USED. WE ARE DISTRIB¬
UTORS FOR ALL LEADING MANUFACTURERS. RUBY
CAMERA EXCHANGE, 729 Seventh Ave., New York
City. Established since 1910.
AUDIO AKELEY single system camera complete with
Akeley sound head. Gyro tripod, 3 lenses, view
finder, Maurer mixing amplifier. Complete with
cables, power supply and W. E. microphone.
CAMERA EQUIPMENT CO., 1600 Broadway, New
York 19, N.Y. Cable: Cinequip.
PRECISION Magnetic Heads for Engineers - Industry
Erase - Record - Playback
STANCIL-HOFFMAN CORPORATION
921 North Highland Avenue
Hollywood 38, California
ROBOT II A automatic splicer 35mm, practically un¬
used. Originally $650, immediate sale $350. Editing
Dept. E.B. FILMS, 1150 Wilmette Ave., Wilmette,
Illinois.
2 WESTINGHOUSE motor generators, trailer mounted
2400/4400 volts AC, 120/240 volts DC, 1200 and
1800 amps. AMERICAN CINEMATOGRAPHER, Box
1000.
1 — NEW Model A. A. Mac Van Sound and picture
16mm printer. Automatic lite changer. SAM'S
ELECTRIC SHOP, Passaic, N.J.
WANTED
IF IT WORKS — WE WANT IT
Cameras, Dollies, Lenses, Lights,
Moviolas, Printers, Recorders,
Studio or Lab Equipment
We also trade or take consign¬
ments. Set your own price — we’ll
get it.
Western Union-WUX New York,
Phone PL 7-0440
S.O.S. CINEMA SUPPLY CORPORATION
Dept, fc Cable: SOSOUND
602 W. 52nd Street New York 19, N. Y.
IMMEDIATE CASH PAYMENT FOR
CAMERAS AND EQUIPMENT
NEED EYEMOS (SINGLE LENS AND TURRET)
MITCHELLS, ARRIFLEX, DE BRIES, B&H STANDARDS
AND HI-SPEEDS, WALLS, AKELEYS, CINE SPECIALS,
AURICONS, MAURERS, FILMOS. ALSO BALTARS,
COOKES AND OTHER LENSES. SOUND STAGE
LABORATORY AND EDITING EQUIPMENT OF ALL
TYPES REQUIRED. PLEASE SHIP INSURED OR FOR¬
WARD DESCRIPTIONS AIRMAIL. IMMEDIATE PAY¬
MENT.
GORDON ENTERPRISES • 5363 N. Cahuenga
NORTH HOLLYWOOD, CALIFORNIA
WANTED TO BUY FOR CASH
CAMERAS AND ACCESSORIES
MITCHELL, B&H, EYEMO, DEBRIE, AKELEY ALSO
LABORATORY AND CUTTING ROOM EQUIPMENT
CAMERA EQUIPMENT COMPANY
1600 BROADWAY, NEW YORK CITY 19
CABLE: CINEQUIP
WANTED
PRODUCTION EQUIPMENT, LABORATORY EQUIPMENT,
EDITING EQUIPMENT, 16mm. and 35mm. FROM SIN¬
GLE ITEMS TO COMPLETE STUDIOS. TRADES AC¬
CEPTED.
THE CAMERA MART, INC.
1845 Broadway Circle 6-0930 New York 23, N.Y.
( Continued, on Next Page)
American Cinematographer
June, 1955
369
Classified Ads
( Continued from Preceding Page)
WANTED
F & B PAYS MORE
FOR USED 16/35MM EQUIPMENT
WRITE — WIRE — PHONE
FOR OUR CASH OFFER
FLORMAN & BABB MU. 2-2928
70 W. 45TH ST. NEW YORK 36. N Y.
POSITIONS WANTED
WANTED
Mitchell — Akeley — B & H — Wall — Eyemo
Cameras — Lenses — Equipment
NATIONAL CINE EQUIPMENT, INC.
209 West 48th St. New York, N.Y.
NEGRO — Catholic, experienced cameraman, 35mm
newsreel, 16mm color productions, editing, light¬
ing, titling, also projectionist. MALCOLM MYERS,
3424 Clark Ave., St. Louis 3, Missouri.
WIDER NEGATIVES
(Continued from Page 368 )
However, with Grandeur, the cine¬
matographer’s task is lightened, inas¬
much as the sets need not be so high,
and back lighting at more effective and
natural angles is possible. Direction of
expansive scenes is simplified, for the
proportions of the 70 millimeter frame,
221/oinm x 48mm. are such as to give
ample scope for all movements with
adequately large figures. Dance scenes
need not be followed by the camera,
for there is plenty of room for them in
normal long shots. Composition with
this him does not present the difficulties
of 35 millimeter. The angular held of
view of the various lenses are different,
naturally. The comparisons here shown
of angles included by representative
lenses on standard him with a frame of
19mm x 25mm (standard), and
Grandeur with its 22l/2mm x 48mm
frame, are interesting.
Focal length of lens Standard Film Grandeur
40
mm.
42'°
52'
65°
28'
50
mm.
34°
52'
54°
26'
75
mm.
23°
38'
37°
50'
00
mm. (4")
17°
50'
28°
50'
Photographers who
h
ave
used
Grandeur recommend use of a lens ap¬
proximately 2/3 longer than for 35
millimeter.
Sound men should be interested in
Grandeur, for it gives them a sound
track 7 millimeters wide as against 2
millimeters of the standard. This
naturally permits much greater volume-
range in recording and gives a better
quality. This in either Variable Density
or Variable Area processes, but particu¬
larly in the latter.
The projectionist receives much from
Grandeur also, for the projector for
Grandeur has many features particu¬
larly pleasing to the operator. Chief
among them is the fact that the him
runs cooler than standard, for the
•
CAMERA & SOUND MEN
TOP-NOTCH cameraman available. Has done over 400
TV films, industrials, commercials. Eastmancolor,
kodachrome, B&W. Has made films all over U.S.,
Canada, Mexico, Europe. Now available for the¬
atrical short subjects, features, or TV film series.
Has complete Mitchell equipment. BOX 1205,
AMERICAN CINEMATOGRAPHER.
LABORATORY & SOUND
SOUND RECORDING at a reasonable cost. High
Fidelity 16 or 35. Quality guaranteed. Complete
studio and laboratory services. Color printing and
lacquer coating. ESCAR MOTION PICTURE SERVICE,
INC., 7315 Carnegie Avenue, Cleveland 3, Ohio.
Phone Endicott 1 -2707.
ROCKY MOUNTAIN 16MM HEADQUARTERS
Processing — Printing — Recording
Editing — Production — Rental — Sales
DuPont, Eastman and Fastax films in stock.
Write for Price List.
WESTERN CINE SERVICE, INC.
114 E. 8th Ave., Denver 3, Colo. TAbor 5-2812
LOWER cost 16mm editing and sound recording — -
— only 22 miles from Hollywood. EL RANCHO
AUDIO, 26236 Fairview Avenue, Lomita, California.
DAvenport 6-4925.
shutter is between the light source and
the him.
Audiences thus far appear to have
taken to the wide him. too. They re¬
ceive many thrills in watching pictures
made on this width. Chief among the
outstanding audience features is the
pseudo-stereoscopic depth that is dis¬
played. It makes for more naturalness
in the picture. The wide proportion
removes the consciousness of the dead
black borderline. Strangely enough,
there is an absence of grain unless you
get very close to the screen.
So much for Grandeur. It is here,
and it has its advantages. Whether or
not it will be accepted as a standard
is a question no one at present can
answer.
Mr. Fear, inventor of the new Fear¬
less 65 millimeter camera, which is be¬
ing used in actual production by one
big company, claims that he has the
ideal width. And there are many in
the picture industry who agree with
him. We will not dispute him; neither
will we dispute the Fox organization
nor any of the others who are experi¬
menting in an effort to arrive at a him
width that will add to the development
of the industry. We are only attempt¬
ing to set down the facts as we find
them.
The fact that one of the largest pro¬
ducing companies in the industry is
using this camera at this time indicates
that there must be a lot of merit
attached. Also the fact that several other
large companies, while not publicly an¬
nouncing their plans, are known to have
decided upon the use of 65 millimeter
width him. would indicate that the hnal
decision as to a new standard lies practi¬
cally between the 65 millimeter and the
70 millimeter widths. Mr. Fear declares
the 65 millimeter width is “the ideal
width for perfect picture reproduction.”
As in the case of the Grandeur him,
the 65 millimeter width gives the great
advantage of a wider sound track,
which, naturally, makes for better tone
quality and greater volume-range in re¬
cording. Then, too, in the matter of the
“frame,” the 65 millimeter has ad¬
vantages over the 35 millimeter stand¬
ard that has been breaking the hearts
of the cameramen for months. The
"frame' of the 65 millimeter width is
22mm x 45mm. which is claimed by
Fear and those who are advocating
65mm width to be the ideal frame size
for perfect reproduction on the screen.
The same claim to stereoscopic depth
that is visible in the Grandeur is
claimed by Fear and other advocates-
of the 65mm width. Fear also claims
that the 65mm film is of such size that
the lens covers the entire field, which is
one of the problems in the use of the
70 millimeter film.
From the cameraman’s point of view,
the most interesting feature of the new
Fear camera is the fact that it may be
used for either 35mm standard or for
the 65mm film. It is normally built
for use with 65mm. But a special move¬
ment has been constructed for 35mm
use, and is interchangeable with the 65
millimeter movement — requiring only a
few minutes’ time for the change. Two
interchangeable sprocket-and-roller as¬
semblies have been developed. So, by
merely removing one movement and
substituting the other, changeover to the
alternate size film is accomplished.
The Fearless camera magazines are
designed so that 35mm film can also be
used in them. This is accomplished by
providing the film rollers with a relief
so that the 35mm film is properly
guided into the magazine, and by fur¬
nishing special take-up spools for the
narrow film. These spools hold the film
centrally in the magazine and prevent
it from creeping to one side or the
other.
Standard 35mm magazines can also
be used on the camera when using
35mm film, thus making it possible to
use some of the equipment that the pro¬
ducer now has. This is accomplished by
making a special adapter which fastens
on top of the camera. This adapter
partially covers the hole for the large
size film and excludes all light from the
inside of the camera when using the
35mm magazines.
Other features furnished as standard
equipment in the new Fearless camera
include a quick focusing device; full
force feed lubrication to all major
driven parts, all driving parts being in¬
closed and running in an oil bath; and
two built-in footage counters. As
special equipment the camera can be
furnished with a built-in tachometer, a
built-in high-speed gear box and a
built-in sound recording mechanism.
370
American Cinematographer
June, 1955
The camera that’s
Setting up studio in a venerable German monastery, for film¬
ing The Reformation, is an easy-does-it job for this Coronet
cameraman. The built-in versatility of the Cine-Kodak
Special II makes possible filming professional-quality movies
on location, without the aid of studio conveniences.
“making” history for Coronet Films
Coronet cameraman uses a
Cine-Kodak Special II Camera
to film history with
“you-were-there” realism
Re-creating the full sweep of history in all
its magnificence and meaning . . . cap¬
turing alike the fury of battle and the
quiet of a prayerful interlude like that
shown above . . . making yesterday’s
ideas vivid and easy for students to un¬
derstand — that’s Tod Stromquist’s job.
He puts history on film for Coronet In¬
structional Films with a 16mm. Cine-
Kodak Special II Camera.
And hundreds of other well-known
professional cinematographers — and ex¬
pert amateur cameramen, too — consider
the Cine-Kodak Special their first and
final camera. No wonder . . .
It has all the versatility you need for
making the finest 16mm. movies...
built right into a single, compact unit.
You can quickly and easily make fades,
dissolves, and multiple exposures . . .
change from one film to another . . . shift
from normal shooting to telephoto lens
. . . make speeded-up or slow-motion
movies, mask shots, and many other
cinematic effects.
No other camera in its price range
offers greater precision, or more built-in
features, than the Cine-Kodak Special II.
It’s available with either a 25mm. // 1.9
or // 1 .4 Kodak Cine Ektar Lens and your
choice of a 100-foot or 200-foot inter¬
changeable film chamber. Its two-lens
turret accepts a complete complement of
auxiliary Ektar Lenses. Prices start at
$1090 (includes Federal Tax and is sub¬
ject to change without notice).
Ask your Kodak dealer, or just mail
the coupon, for a free 16-page booklet
describing this amazing camera.
Most Kodak dealers offer convenient terms.
- 1
6-1 1 '
EASTMAN KODAK COMPANY, Dept. 8 -V, Rochester 4, N. Y.
Please send me more information about the Cine-Kodak Special II Camera.
color harmony
every time
color-correct
prints ....
*
You’ll also
have production harmony
every time you schedule
these Byron 16mm facilities:
scri pt
art
titling
animation
editing
sound effects
recording
location photography
music library
sound stage
complete black-and-white
laboratory facilities
precision magnetic striping
Quality conscious? Byron color-correct prints are
wliat yon want. Get duplicate prints processed
with exacting fidelity — color prints in balance that
retain all their natural beauty with full depth and
clarity. Color-correct* is a Byron exclusive, the result
of many years of engineering research and development
by a pioneer laboratory — staffed by master craftsmen
— working with the finest equipment at top level
efficiency. Choose the leader in the 16mm color field.
Time important? Try our 8-liour service.
Studios and iMboratory
1226 Wisconsin Avenue, N.W., Washington 7, D.C. DUpont 7-1800
*Reg. U. S. Patent Office
PRACTICALLY EVERY 16MM FILM PRODUCER IN THE WESTERN HEMISPHERE IS A CLIENT OF BYRON
"V i/* \-A' X
JULY • 1955
a
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
0fjLfe /rc £j/9 * Artistic Honesty in Cinematography
/ff fr?'* * • Newsfilm Tailored for Television
• Use of Miniatures in 16mm Films
25c
FOREIGN 35c
DAILY LIGHT TESTS are shown to Du Pont
Technical Representative Jack Du Vail
by Director of Photography Bill Brad¬
ford. In center is Director George
Archainbaud.
GENE AUTRY'S FLYING-A RANCH is the locale for a scene from the “Buffalo
Bill, Jr. Show.” For outdoor shooting under a wide range of lighting con¬
ditions, Director of Photography Bill Bradford depends on Du Pont
“Superior” 2.
“‘Superior’ 2 has plenty of flexibility . . .
helps us meet tight TV schedules,”
says Bill Bradford, ASC, Director of Photography, Flying-A Productions
“Shooting TV Westerns really keeps us
going at a fast pace!” comments Bill Brad¬
ford, “but Du Pont ‘Superior’ 2 helps us
keep right on schedule. It’s seldom that we
miss getting all the action on film on the
first take.
“I’ve used ‘Superior’ 2 for several
years,” the veteran photographer con¬
tinues. “ ‘Superior’ 2 speed, latitude and
image quality are exceptionally good, and
I appreciate the helpful service I’ve al¬
ways had from Du Pont Technical Repre¬
sentatives. The resolution of Du Pont Film
is excellent, too — gives us really fine pic¬
ture quality.”
Bill Bradford’s been shooting Westerns
ever since 1923 and was First Cameraman
on one of the first motion picture series on
television. “In shooting for TV,” the well-
known photographer says, “the range of
subject contrast is considerably lower than
for motion picture work. The flexibility of
‘Superior’ 2 meets this need. Our camera¬
men shoot without restrictions . . . have al¬
most unlimited freedom.”
There’s a type of Du Pont Motion Pic¬
ture Film to meet your requirements: tele¬
vision . . . studio . . . feature . . . instrumen¬
tation . . . sports . . . newsreel and high
speed. To be sure of the best, specify
Du Pont Film in any standard length (100
to 3,000 feet).
u.s pat. cff-
Better Things for Better Living . . . through Chemistry
DUPONT MOTION PICTURE FILM
FOR MORE INFORMATION
. . . write or call the nearest Du Pont Dis¬
trict Office (listed below) or the Du Pont
Company. Photo Products Department,
Wilmington 98, Delaware. In Canada:
Du Pont Company of Canada Limited,
Montreal.
DISTRICT OFFICES
ATLANTA 5, GA . 805 Peachtree Bldg.
BOSTON 10, MASS . 140 Federal Street
CHICAGO 18, ILL . 3289 N. California Ave.
CLEVELAND 14, OHIO . 1033 Union Commerce Bldg.
DALLAS 7, TEXAS . 1628 Oak Lawn Ave.
LOS ANGELES 38, CALIF . 7051 Santa Monica Blvd.
NEW YORK 11, N. Y . 248 West 18th Street
PHILADELPHIA 2, PA . 225 South 15th Street
LOS ANC
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PHILADE
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They’ve been standing on their heads,
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exclusive patented features.
Features which make PROFESSIONAL
JUNIOR tops in the motion picture,
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Is your work "dragging” for want
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the price hasn't changed in
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Measures from floor to flange 25" extended —
17" collapsed.
New York City#
1600 Broadway
Dept
A
7-8
AMERICAN
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
PUBLICATION OF THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
Arthur E. Gavin, Editor
Marion Hutchins, Editorial Assistant Emery Huse, Technical Editor
Editorial Advisory Board: John Arnold, Arthur Edeson, Lee Garmes, Charles
Rosher, Leon Shamroy, Fred Gage, Glenn R. Kershner
Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Calif.
Telephone: Hollywood 7-2135
VOL. 36 JULY • 1955 NO. 7
In This Issue
ARTICLES
Old Time Movies Restored . 392
The Photography of ‘Not As A Stranger' — By Herb A. Lightman - - 396
After The Last Shot is Made — By Allan Balter . 398
Origin of the American Cinematographer Handbook — By John Forbes - 400
Artistic Honesty in Cinematography— By Frederick Foster - - - 403
Universal-International Introduces New Camera and Location Truck
— By Arthur Rowan . . 404
Newsfilm Tailored For Television — By James J. Kane . 408
The Use of Miniatures in 16mm Films — By Charles Loring . . . 412
A Parallax-correcting Viewfinder for 16mm Cameras — By L. F. Fachman 415
AMATEUR CINEMATOGRAPHY
Why A Shooting Script? — By Harold Benson . 416
Bugs In His Lenses! — By Norman E. Flitters . 418
FEATURES
Industry News . 378
Hollywood Bulletin Board . 382
What’s New in Equipment, Accessories, Service . 386
Roster of American Society of Cinematographers — July 1, 1955 . . 422
Hollywood Studio Production . 434
. 438
ON THE COVER
OVER THE SIDE of the U.S.N. Attack Transport Randall goes director
of photography William Daniels, ASC, and his camera crew to film scenes
of amphibious landing for Universal-International’s VistaVision-Technicolor
production, “Away All Boats.” Daniels wears tent-shaped sun helmet because
of severe sunburn suffered first day of shooting on Virgin Islands location.
illllllllll!llllllllllllllllllllllilllllilllllll!lill!l!l!|]||I
§j AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. M
gg C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. Entered as second class matter |j
H Nov. IS, 1937, at the postoffice at Los Angeles, Calif., under act of March 3, 1879. SUB- g
g SCRIPTIONS: United States and Canada, $3.00 per year; Foreign, including Pan-American g
g Union, $4.00 per year. Single copies, 25 cents; back numbers, 30 cents; foreign single g
f§ copies, 35 cents; back numbers, 40 cents. Advertising rates on application. Copyright 1955 =
g by A. S. Agency, Inc.
lillllllllllllllllllllllllllllllllllllllllllllllllllll
can v
continued
■
professional m<
in addition to fill
^Television, Business a
major Motion Picture Studios
PROUDLY CREAT
wvri .
Mi
less technical perfection which a Mitchell camera brings
vestment as can no other single element of production.
research and engineering by Mitchell has
fear, the most advanced and only truly
is traditional of Mitchell cameras that
t films, they are to be found wherever
of filming are being successfully used.
■
pendablv serving such varied fields as
Government, the Arme^l Services, and
H ■
mMMM
Tom Kelley Studios shoots a TV commercial f One of three Mitchell 35mm "BMC" Cameras used by Dl&fHi
for North American Airlines with this Mitchell Productions on the “I Love Lucy" series with Desi Arnaz, right,
35 ”NC" Ceasar Romero is shown at center. and Lucille Ball.
mm
Mitchell cameras are
workmanship and smoi
16 mm or . 35 mm. avo
art* thft finest mf •■•I
ities, are the finest of
,V v? i
produced— the same supreme custom
operation is found in each Mitcheil camera,
neras almost limitless capabil-
es„ ..
& mw6i ii«
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CORPORATION
666 WEST HARVARD STREET
GLENDALE 4, CALIFORNIA • CABLE ADDRESS: "MITCAMCO
35 MM. DeVRY PROJECTOR
$225°°
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• Loudspeaker
• 2000-ft. magazines
• 1000-watt lamp
SEMLER INDUSTRIES. INC.
6853 LANKERSHIM BOULEVARD !
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FASTAX SPECIALISTS
•
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247 W. 46th St.
New York 36, N. Y.
INDUSTRY NEWS
Cinematographers attending meeting of
the International Organization for Stand¬
ardization in Stockholm last month, vot¬
ed in 14 proposals which will further in¬
ternational exchange of films products.
More than 40 delegates from the U.S.,
Britain, Germany, France, Belgium, Rus¬
sia, Czechoslovakia, Italy and Sweden
attended the last session of a five-day
meeting on cinematography.
A U. S. proposal for the cutting and
perforating of 35mm film for use in Cin-
emaScope was adopted. Safety film defi¬
nition and methods of testing were also
agreed upon by delegates. An interna¬
tional procedure for making safety films
was launched after a three-day study of
methods used by the various countries. A
committee was authorized to draft an
international standard on multilingual
tracks to cover one present optical and
two magnetic tracks on a single standard
release.
★
Consolidated Film Industries, last
month completed installation in its Holly¬
wood plant of the new 16mm Reeves
Soundcraft Magna-Striper. Equipment
will enable Consolidated to offer its cus¬
tomers magnetic oxide striping of motion
picture films in widths of 25 mils, 50
mils, and 100 mils. Striping may be
applied to either black-and-white or col¬
or films.
★
Motion picture film now accounts for
approximately 55 to 65 per cent of tele¬
vision presentation “air time'’ and is ex¬
pected to increase materially in the next
few years, T. Gentry Veal, research as¬
sociate at Kodak Research Laboratories,
reported at a recent meeting of the Na¬
tional Association of Television Film
Directors in Washington, D. C.
The Kodak scientist said that the
goal of better definition and overall pic¬
ture quality from movies on TV has re¬
cently been a subject for considerable
development and research among tele¬
vision engineers and film manufacturers.
The best set lighting for color motion
pictures for TV was also discussed. Veal
showed color slides to illustrate how re¬
search had established the need for lim¬
iting the luminance range on movie film
for TV use. This was done through
proper subject-lighting contrast, he said,
and a lighting contrast known among
cinematographers as “2 to 1” was judged
the most suitable for reproduction by
color television.
Magnasync Mfg. Co., Ltd., North Hol¬
lywood, Calif., has developed a new elec¬
tronic system whereby blueprint dimen¬
sions are recorded directly on a roll
of 35mm magnetic
film. When this film
is “played back,” in
much the same man¬
ner as on a home
tape recorder, it di¬
rects mills and lathes
in a machine shop to
make parts exactly
as blueprinted.
Aiding in the de¬
velopment of this
equipment was Olin L. Dupy, veteran
sound engineer and who was supervisor
of sound recording at M-G-M Studios for
a quarter of a century.
For the motion picture industry, Mag¬
nasync makes synchronous magnetic tape
and film recorders and associated equip¬
ment.
★
The first production of feature films in
Western Canada will get under way this
fall in new studios being built by Parry
Films Ltd., in Vancouver. The company’s
new $50,000 building will enable it to
expand from its present production of in¬
dustrial and commercial films, to films
for the theatrical field. Head of com¬
pany is Lew M. Parry.
★
CinemaScope and other wide-screen
processes have made the job of the art
director more important than ever be¬
fore, according to Arthur Freed, MGM
director.
★
Color television test films and slides
in 35mm and 16mm are now available
from the Society of Motion Picture and
TV Engineers. Prints, produced for use
by television engineers and technicians,
represent quality of color material ob¬
tainable from Technicolor, Ansco or
Eastman prints.
★
A variable anamorphic auxiliary lens
attachment for 16mm projectors is now
being marketed by Panavision, Inc., Los
Angeles. Trade-named the Panatar-16,
attachment is said to produce the same
high quality of Panavision’s 35mm Super
and Ultra Panatar lenses, which are now
in use in more than 5,000 theaters. Hol¬
lywood laboratories also employ the new
lens to check quality of 16mm release
prints reduced from 35mm Cinema-
Scope to 16mm CinemaScope.
o. L. DUPY
378
American Cinematographer
July, 1955
/KJP/COti 16 m Somd-On-fi/m for Prokr/mf Pm/fit
ALL AURICON EQUIPMENT IS SOLD WITH
A 30 DAY MONEY-BACK GUARANTEE.
"CINE-VOICE'' 16 mm Optical Sound-On-Film Camera.
* 100 ft. film capacity for 2% minutes of
recording; 6-Volt DC Convertor or 115-Volt AC
operation. * $695.00 (and up).
"AURICON PR0-600” 16mm Optical Sound-On-Film Camera.
•* 600 ft. film capacity for 16x/2 minutes of
recording. * $1497.00 (and up) with 30 day
money-back guarantee.
"SUPER 1200” 16 mm Optical Sound-On-Fitm Camera.
* 1200 ft. film capacity for 33 minutes of
recording. * $4652.15 (and up) complete for
"High-Fidelity” Talking Pictures.
SOUND RECORDER -Model RM-30... 1200 foot film
capacity, synchronous motor for “double-system”
16mm Optical Sound-On-Film operation.
* $3359.00 (and up)
PORTABLE POWER SUPPLY UNIT —Model PS-21 . . . Silent
in operation, furnishes 115-Volt AC power to drive
"Single System” or "Double System" Auricon
Equipment from 12 Volt Storage Battery, for
remote “location” filming.* $269.50
Strictly for Profit
CHOOSE AURICON
If it’s profit you’re after in the production of
16 mm Sound-On-Film Talking Pictures, Auricon
Cameras provide ideal working tools for shooting
profitable Television Newsreels, film commercials,
inserts, and local candid-camera programming.
Now you can get Lip-Synchronized Sound WITH
your picture at NO additional film cost with
Auricon 16 mm “Optical” Sound-On-Film Cameras.
Precision designed and built to “take it.” Strictly
for Profit — Choose Auricon!
DUAL PHONO-TURNTABLE— MQdel DPT-10 ... Takes up
to 16 inch discs with individual Volume Controls
for re-recording music and sound effects to 16 mm
Sound-On-Film. * $161.15
TRIPOD — Models FT-10 and FT-1QS12 . .
Pan-Tilt Head Professional Tripod for
velvet-smooth action. Perfectly counter-balanced 6902 R0MAINE STREET, HOLLYWOOD 38, CALIF,
to prevent Camera "dumping.”* $325.00 (and up). _ 1
BERNDT-BACH, INC
MANUFACTURERS OF SO U N D - O N - FI LM RECORDING EQUIPMENT SINCE 1931
Auricon Equipment is sold with a
30-day money-back guarantee.
You must be satisfied.
Please send me free Auricon Catalog. 6902A
Name .
(Please write your address in margin)
“BEAM PILOTS” GUARANTEE GL
On all J. G. McAlister spot equipment, encircling
every Fresnel lens-zone, are special opaque bands, fused to
the glass. They prevent flare and unwanted spill-light,
by controlling side-beam deflection without loss of useful light.
This guarantees you an accurate light — & concise,
sharp-edged circle, from spot to flood.
Other exclusive J. G. McAlister features:
“Perma-Lock” mirror for positive alignment after every globe
removal; “Easy-Action” focus, from both front and rear.
J. G. McAlister equipment is NOT sold
through dealers. Today, call or write:
WORLD HEADQUARTERS FOR THE FINEST ENGINEERED LIGHTIN
1117 North McCadden Place
N A IDICH
GENERAL FILM
LABORATORIES CORP.
1546 NO. ARGYLE HOLLYWOOD 28, CALIF. HO 2-6171
COMPLETE 16mm & 35mm SERVICES, in:!. MAGNETIC STRIPING ... ANY WIDTH. ..ANY POSITION. 16mm COLOR PRINTING
Materials and equipment
are of major importance,
but in addition there is
an intangible called
SI
which makes a decisive difference
in the result.
This is TOPS!
This issue of
AMERICAN
CINEMATOGRAPHER
is the BIGGEST YET!
• More advertising
• More pages
• More circulation
Than Any Previous Issue!
No wonder more and more advertisers
are swinging to American Cinematogra¬
pher, the one publication in the motion
picture field that delivers more sales
per unit of circulation than any other,
and at a cost far less than that of any
of the others.
If you have a product or service to sell
those in the business of producing mo¬
tion pictures, if you want your message
to reach more of the men who buy, in¬
clude American Cinematographer in your
1955 Advertising Schedule.
NOTE: We published ihis same mes¬
sage in our November, 1954, issue,
which had reached an all-time high in
both advertising lineage and page
content. Now — this issue climaxes a
further gain in advertising and edi¬
torial content — our biggest issue yet!
We hope you'll pardon our pride in
again reminding readers of our con¬
tinuing growth.
WRITE FOR ADVERTISING
RATE CARD TODAY
Rates Remain Unchanged for 1955
AMERICAN
CINEMATOGRAPHER
The American Society of Cinematocraphes’
Magazinb of Motion Picture Photography
=3S=
CAME RAVI SI ON’S new, dual-purpose video-film camera was put on display for members of
the American Society of Cinematographers at their July meeting in Hollywood. Handling
question-and-answer period are CameraVision's Norton Locke, right, and Glenn Robinson of
Aremac Associates. New camera was described in detail in June Amer. Cinematographer.
William Daniels, ASC, is one of the first
directors of photography to use the new
“yellow flame” carbons for color photog¬
raphy, employing them for lighting ship¬
board sets and “indoor exteriors” for
Universal-International's “Away All
Boats.”
★
Sam Leavitt, ASC, returned to the
Warner Brothers’ lot last month to direct
the photography of “The Court Martial
of Billy Mitchell.” Assignment also
brings Leavitt and director Otto Premin¬
ger together again; the two were to¬
gether previously on “Carmen Jones.”
Picture is being produced in Cinema-
Scope and Warner Color.
★
Bud Mautino, camera operator, is one
of the few ever to receive screen credit.
His name appears in the credits of Stan¬
ley Kramer’s “Not As A Stranger.” Well-
deserved, too.
★
Jim Van Trees, ASC, is back in action
in the TV film field. Following his stint
of finishing out the ailing Phil Tannura’s
assignment of directing the photography
of the Burns and Allen Show for McCad-
den Productions, he travelled to Pitts¬
burgh, California, to photograph a se¬
quence at a steel plant there for a forth¬
coming U. S. Steel Hour television show.
The George Eastman House, in Ro¬
chester, N. Y., plans a film festival for
the fall during which awards and cita¬
tions will be presented to film players,
cameramen and directors still living
who have made significant contributions
to the history of American motion pic¬
tures during the period 1915 to 1925.
Jesse L. Lasky, Hollywood, was ap¬
pointed to the Festival committee; he in
turn solicited the American Society of
Cinematographers to appoint one of its
members to represent industry camera¬
men. The ASC Board chose Jackson J.
Rose. Veteran Rose is well-qualified to
serve the post, having been a cameraman
with Essanay from 1910 to 1919 before
coming to Hollywood.
★
Benj. Kline, ASC, veteran director of
photography of the Fireside Theatre TV
film series, is one of the founding group
and the director of photography of the
newly-formed Don Wilson Productions,
Inc., which opened offices in KTTV Stu¬
dios in Hollywood last month. New com¬
pany will specialize in the production of
TV spots, slide films, and industrial, doc¬
umentary and sales films.
★
“The Spirit of St. Louis,” Warner Broth¬
er’s production based on the famed Lind¬
bergh trans-Atlantic flight, will “get off
the ground” July 20th with Ted Mc-
(Continued on Page 438 )
382
American Cinematographer
July, 1955
y
“Life-like color/’ the ultimate
in the reproduction of color film, is now available
to all producers of 16mm motion pictures.
Now you can have your exposed film duplicated
with perfect blending and balancing of tones.
Your release prints will have a sensitive living
quality ... surpassing anything you have ever seen
in clarity.
This is "Life-Like Color” the result of fifteen
years of exhaustive research by the country’s
outstanding color engineers and technicians. It is now
available to you exclusively through the
laboratories of Telefilm Studios.
With "Life-Like Color" Telefilm Studios again
contributes to its primary objective ... to help
the 16mm producer make better motion pictures.
Telefilm’s modern facilities and equipment for
color printing. .. high fidelity sound recording (your
choice of optical or electronic sound printing) ...
editing ... titling ... special effects ... and the
skill and the know-how of the finest technicians in
the industry are at your command.
_ ■ - .
LEFILM
you’ve been waiting for
clear.
alive !
For complete information, visit Telefilm Studios or write for descriptive literature.
telephone: H Oily wood 9-7205
Henri Toulouse-Lautrec,
pioneer of commercial color.
6039 HOLLYWOOD BLVD. •
HOLLYWOOD, CALIF.
PRINTS BY CAPITAL
1
FILM LABORATORIES, INC.
Formerly JdcGeary-Smith Laboratories, Incorporated
1905 Fairview Are. N. E., Washington 2, D. C.
< OUR LATEST PRICE LIST AND ILLUSTRATED BROCHURE
THE SERVICE LAB
THAT SERVES THE
NATION
® Scotch Track Process
• RCA Sound Recording
• Scientific Processing
• Creative Editing
• Matchless Printing
r, better prints
are faster, easier
with these new . . .
Now it is far easier to get the very most from
every negative . . . better definition— better tonal
yalues— better color— better balance . . . with the
new Houston Fearless Continuous Contact
Printers.
These entirely new, completely self-contained,
compact units are the result of many years engi¬
neering and development, designed to produce
consistently high quality prints with a minimum
of manual operation.
They are precision built to give years of depend¬
able service. Write today for prices and complete
information.
i Correct light value, pre-set for each
scene, changes automatically.
► Automatic scene-to-scene color cor¬
rection filters change simultaneously
with light change.
t Extremely narrow exposing aperture
produces intense printing light, and
sharper pictures.
I Three-way slide-type aperture easily
adjusted to print picture, sound or
composite. Separate edge - printing
light.
► Torque motor-driven take-ups re¬
quire no belts, clutches or adjust¬
ments.
I Entirely self-contained, compact and
light. Takes minimum space.
► Completely assembled, ready to plug
in and operate.
HOUSTON
cca of cec
r
► Precision made of all non-corrosive
metals.
1 1 809 W. OlYMPIC BLVD., LOS ANGELES 64, CALIF. . BRadshaw 2-4331
620 FIFTH AVE., NEW YORK 20, N. Y. . Circle 7-2976
DIVISION - COLOR CORPORATION OF AMERICA
I a TRULY GREAL g
CAMERA =
== for TV, Newsreel
= and commercial
— - tough and trying assign- - —
— ments, ARRIFLEX 35 is in a =E
class by itself. Reflex focusing
through photographing lens EE
EE while camera is operating — EE
— ^ this is just one outstanding ~
E~ ARRIFLEX feature.
== Equipped with bright, right- EE
~ side-up image finder, 6'/2 x =•
= magnification. Solves all par- ~
— allax problems. 3 lens turret.
= Variable speed motor built ~
into handle operates from ~
— lightweight battery. Tachom- =E
EE eter registering from 0 to 50 EE
— frames per second. Compact,
EE lightweight for either tripod EE
^ or hand-held filming. Takes ==
EE 200' or 400' magazine. Write EE:
EE for free folder. EE
EE Blimp now available. EE
EE 16mm ARRIFLEX also available.—
flmeRfl Couipmem (o
1600 BROflOUJHI \ riCUJ BOR* CITS >S— '
WHAT’S NEW
... in equipment, accessories, service
“Labmaster” Film Processor
Houston-Fearless offers an entirely
new, fast, motion picture film processor
designed for easy daylight operation and
quality processing of 16mm negative or
positive black-and-white film. Trade-
named the Labmaster, unit is completely
self-contained and features an improved
“in-line” design with all parts accessible
for easy operation and maintenance.
Film is transported by friction-clutch
drive. Operating speed is variable be¬
tween 10 and 35 feet per minute. De¬
veloper and fixer tanks have temperature
control. Recirculation is provided for
the developer. All tanks are equipped
with bottom drains. Manufacturer is
Houston-Fearless Division, Color Corp.
of America, 11809 West Olympic Blvd.,
Los Angeles 64, Calif.
110-volt Powerpack
Carter Motor Co., 2644-A North
Maplewood Ave., Chicago 47, Ill., an¬
nounces its new Carter-Pak — a new self-
contained rotary power supply that de¬
livers 110-v of power for recorders, cam¬
eras, etc. Compact carrying case con¬
tains 12-v storage battery, Carter con¬
verter, and a battery charger that may
be plugged into any AC outlet to replen¬
ish the battery when required. Control
panel has frequency control knob, meter
and switches.
Magnetic Film Recorder
Stancil-Hoffman Corp., 921 No. High¬
land Ave., Hollywood 38, Calif., an¬
nounces a new line of professional mag¬
netic film recording equipment. The new
Model S6 system can be operated from
normal AC power sources or batteries.
The system was engineered around a 24-
volt battery power supply because of the
availability of the newer, more efficient
batteries now available.
The S6 is available for 16mm or
lTlAnmi film. Descriptive literature is
available.
Automatic Printer Fader
Bell & Howell Co., 7100 McCormick
Road, Chicago 45, Ill., announces a sim¬
ple easy-to-install automatic fader for
installation on model D or J printers.
User can install the fader without need
of sending printer to the factory.
Net price is $700.00.
Film Coding Machine
Hollywood Film Company, 956 No.
Seward Street, Hollywood 38, Calif., of¬
fers a new coding machine for 16mm
and 35mm film. Both models will code
up to and including 3,000 ft. reels
of film. A free-wheeling, pricision-
machined contact roller assures uniform
application of the ink code marks with¬
out over-pressure embossing of numbers
(Continued on Paste 438)
386
American Cinematocrapher
July, 1955
MORE THAN 35 YEARS DEVOTED TO THE DEVELOPMENT AND
MANUFACTURE OF FINE MOTION PICTURE EQUIPMENT
FOR FILMING, PROCESSING AND PRINTING.
Since the formation of the company in 1919, the name
Arnold & Richter has been identified with the finest equipment
in the field. Through progress engineering, ARRI technicians
have pioneered many advances in movie technique.
Today, ARRI Equipment is used the world over — by noted
cameramen, in leading laboratories — wherever important
films are in the making.
Sole U. S. Agents
IPiiOTO COIR, IP.
235 Fourth Ave., New York 3, N. Y.
7303 Melrose Ave., Hollywood 46, Calif
"Si'*
1 1
n
1 |i| i :
ii.
: 4 i ! ! 1 i : 1
| * n jj ; { j
j
£
' f Hulf ]Hi
; m\\n\P
;&B FOURTH
F&B PRODUCTS
PRO-CINE TRIPOD
Most Improved Tripod in the Medium Weight
Class, for All Cameras. Made in USA by F&B.
Price $135.00. Heavy Duty Case $20.00.
F&B SPLIT REELS
Simply open split reel, slip in film on core, and
close. 400' $4.50, 800' $6.00, 1200' $7.50,
1600' $9.00.
(Professional & Educational Discounts)
F&B GATOR GRIP-LITES
With barn doors. Hangs from a nail — clamps
securely to doors, chairs, flats or stands. Barn
door swivels 360°. Accepts diffusers, filters,
etc. Price $12.95 complete.
We hate to brag . . . but our policy of
BETTER EQUIPMENT, BETTER SERVICE and REA¬
SONABLE PRICES has paid off . . .
For the fourth time in four years we have
found it necessary to expand our space and
facilities.
On or about August 1 st, we will move into
a very large street level showroom, with
mezzanine, located just next door at 68 West
45 th Street.
This will be the LARGEST STREET-LEVEL SHOW¬
ROOM IN NEW YORK devoted EXCLUSIVELY
TO MOTION PICTURE EQUIPMENT.
You are cordially invited to visit us when in
New York.
WE RE LOOKING FORWARD TO SEEING YOU.
Some of the expanded facilities we will offer
to film personnel are these:
COMPLETE RENTAL SERVICE . . Cameras,
lighting, editing, recording and grip equipment.
1 ONLY
COMPACT TURRET
EYEMO
Model 71 -C, 7 speeds,
drum-type viewfinder.
2" f/2.5 lens
Reg. price SALE
$775.00 $495.00
4 ONLY
ELECTRICAL FOOTAGE
COUNTERS
35mm synchronous.
Reg. price SALE
$75.00 $39.75
4 ONLY
BAIA EDITORS
16mm viewing machines.
Brilliant, scratch-free picture.
Reg. price SALE
$38.50 $29.75
1 ONLY
MODULITE
GALVANOMETER
Variable area.
Reg. price SALE
$450.00 $195.00
4 ONLY
DUAL 16/35mm
ELECTRIC FILM
FOOTAGE COUNTERS
2 sync motors, 2 counters,
sync & line switches
Reg. price SALE
$150.00 $84.50
1 ONLY
ARRIFLEX
Model 1 - 35mm camera
35mm f/2, 50mm f / 1.8,
75mm f / 1.8, 2 200-ft. mags.,
motor, sunshade, case.
Reg. price SALE
$995.00 $595.00
2 ONLY
BELL & HOWELL
Mod. 285
1 6mm sound projectors
Single case, built-in speaker.
LIKE NEW — DEMONSTRATORS
Reg. price SALE
$449.25 $337.50
30 ONLY
FLO-MASTER PEN SETS
Writes on metal, glass, etc.
Excellent for marking film cans.
Black or red.
Pen & 2 oz. can ink.
Reg. Price SALE
$3.50 $2.75
12 ONLY
ALUMINUM FLANGES
Heavy duty — 1 0" diam.
Accepts both male &
female cores.
Reg. Price SALE
$11.95 $6.95
20 ONLY
BARDWELL-McALISTER
Heavy-duty light stand,
1 2 ft. height, 3 large wheels,
two brackets, holds 3 lights.
Reg. price SALE
$125.00 $27.50
60 ONLY
BARDWELL-McALISTER
Strip quadlight
Heavy-duty, holds 4 lamps.
Reg. Price SALE
$45.00 $5.95
1 ONLY
MICRO-RECORD
D-ll-T developing machine
200 ft. cap.
Plus DR- 15 Film Dryer
Reg. price SALE
$265.00 $187.50
F&B EQUIPMENT CATALOG
Lists all equipment you need for film production. Cameras, Tripods,
Lenses, Editing equipment, Lighting equipment, etc.
F&B RENTAL PRICE LIST
Complete 16-page, pocket-size price list. Everything at your finger¬
tips about the cost of renting equipment for Production, Pro¬
jection, Recording, Lighting and Editing.
f Vfel
FLORMAN & BABB
68 West 45th Street, New York 36, N. Y.
Phone: Murray Hill 2-2928
Cable Address — FLORBABB, N.Y.
BOTH
CATALOGS
FREE
FOR THE
ASKING
6 ONLY
9.5mm ANGENIEUX
LENSES
Extreme wide angle
“C" mount for 16mm
Bolex, Filmo, Maurer, etc.
Reg. price SALE
$175,00 _ $89.50
4 ONLY
NORWOOD DIRECTOR
Colormatic meters
Slightly used
Reg. price SALE
$32,50 _ $27.50
4 ONLY
F-E SIDE VIEWFINDERS
FOR EYEMO CAMERAS
Optical side viewfinder
Elements for 1 " , 2", 4".
Masks for telephoto.
Reg. price SALE
$175.00 $89.50
1 ONLY
AURICON PRO
200 ft. model. Sync motor
Auto-parallax viewfinder
Model S Modulite galvo.
Less amplifier.
Reg. price appr. SALE
$1500.00 $745.00
3 ONLY
GRISWOLD SPLICERS
R2 — 35mm
Neg. or Pos. NEW
Reg. price SALE
$32.50 $26.95
TECHNICAL BOOKS
Movies for TV . 4.46
Film & Techniques . 6.67
Rise of American Film 5.46
Motion Picture
Encyclopedia . 10.88
Painting With Light . 6.06
Technique of Film
Editing . 6.67
Film & Director . 3.99
Film Sense . 4.46
Intro to 3D . 3.99
Photo Optics . 5.12
Grammar of Film . 3.22
Magnetic Recording . 4.46
16mm Manual . 9.95
Pictorial Continuity . 2.56
Dynamics of Film . 3.12
Half Century of Color.. 7.33
Cine Data Book . 3.99
Film Form . _... 3.99
Sound Motion Pictures.. 10.88
TV Primer . 3.12
Photo Process . 14.88
P-A-M-
CONVENIENCE . . . Street-level, midtown lo¬
cation . . . just pull up your car, wagon or
truck and load up. Have your crews assemble
at F&B.
COMPLETE STOCK OF EQUIPMENT DISPLAYED
AND DEMONSTRATED . . . from a Mitchell to
Griswold splicers . . . from Fearless dollies to
Arri blimps . . . from developing machines to
split reels.
EXPERIENCED TECHNICAL PERSONNEL . . . who
understand your filming problems, and can
recommend and demonstrate the right equip¬
ment for your job.
NEW CREDIT PURCHASE FACILITIES . . . from a
3-payment 90-day plan to an extended time
payment service.
ARRANGE TO MEET YOUR FRIENDS AT F&B
WHEN IN NEW YORK . . . Located in Midtown
Manhattan, near all transportation, hotels and
recreation centers.
1 6mm
’//' f 1 .5 Raptar
$87.50
1 3mm
f 1 .5
Elgeet
61.50
1 6mm
f 1 .9
Xenon
47.50
1 5mm
f2.7
KA
14.95
1 5mm
f2.7
Goerz
17.50
17mm
f2.7
Woll.
18.75
25mm
f 1 .5
Elitar
37.50
25mm
f.2 (
3oerz
19.75
25mm
fl.8
Cooke
37.50
25mm
f 1 .9
KA
14.50
25mm
f 1 .9
KA "C"
24.75
25mm
f 1 .5
Cooke
44.50
37mm
f2.8
Tessar
16.75
50mm
f4.5
Eymax
23.75
50mm
f3.5
KA
24.50
75mm
f2.9
Elgeet
41.50
75mm
f3.8
Xenar
24.50
75mm
f4.5
KA
21.75
75mm
f 1 .9
Elitar
39.50
75mm
f2.8
Raptar
57.50
75mm
f 1 .5
Elitar
72.50
1 ONLY
CINE KODAK SPECIAL
W/100-ft. mag.
1 " f/1.9 lens.
VERY GOOD CONDITION
Reg. price SALE
$595.00 $349.00
New 16mm Reels
TOP QUALITY STEEL
Size 1-11 1 2 or more
400 ft. .39 .37
600 ft. 1.23 1.13
800 ft. 1.73 1.38
1200 ft. 2.22 1.72
1600 ft. 2.71 2.06
2000 ft. 3.65 3.15
16mm STEEL CANS
400 ft. .37 .33
600 ft. 1.08 1.03
800 ft. 1.48 1.18
1200 ft. 1.97 1.57
1600 ft. 2.38 1.76
2000 ft. 2.85 2.45
TRIPOD SCREENS
30"x40" $ 7.75
40"x40" 9.55
37"x50" 11.50
50"x50" 12.90
Sturdy and portable with crys¬
tal glass beads for brighter
pictures.
1 ONLY
ULPV 3CS MOVIOLA,
PREVIEW MODEL
Comp. & 3 sound heads
Rolling stand.
Reg. price SALE
$2500.00 $1795.00
12 ONLY
ILLUMINATED
CLIP BOARDS
Battery operated.
Useful in proj. rooms.
Reg. price SALE
$7.75 $6.75
8 ONLY
B&H EYEMO MOTORS
1 2-v. D.C. Good condition.
Less Cable.
Reg. price SALE
$110.00 $47.50
2 ONLY
PRO. JR. TRIPODS
With case.
Good used condition.
Reg. price
$160.00
SALE
$95.00
50 DOZEN ONLY
EDITING GLOVES
Men's or Women's sizes.
Reg. price SALE
doz. pr. doz. pr.
$3.75 $2.69
8 ONLY
WRISTWATCH
FILM TIMERS
Deluxe Model.
Starts - Stops - Resets
16 & 35mm
Reg. price SALE
$89.50 $44.50
6 ONLY
LEG-LOK TRIANGLES
Adjustable Aluminum Legs
With Clamps
Reg. price SALE
$32.50 $24.75
1 ONLY
PORTO MIKE BOOM
7-18 ft. Telescoping
Rotating mike.
3-wheeled stand.
Reg. price SALE
$625.00 $335.00
6 ONLY
ECCO SPEEDROL
APPLICATOR
For cleaning film.
Plus 1 qt. Ecco 1500
Reg. price SALE
$32.50 $28.50
F&B EXPANDED RENTAL DEPARTMENT
OFFERS A COMPLETE SERVICE
From Mitchell Cameras to Filmos
Complete editing equipment — Moviolas
Complete lighting equipment — Generators
Sound equipment
Grip equipment
Fine, clean
equipment.
Scrupulously
maintained.
SALE!
F&B PRODUCTS
F&B NOMINAR f/0.95 LENS
"The fastest cine lens in the world." In "C"
mount for all 16mm cameras. Price $165. FET
$9.90. Includes filter holder, sunshade, carry-
ing case. _
PROFESSIONAL RESULTS now nots'hU w;*h vour
Cinevoice Camera. P*'"'. T
Shoot Complete
1 5-Minute
Programs
600-FOOT
MAGAZINE
CONVERSION
FOR 1 6mm
AURICON
CINEVOICE
CAMERA
Price $425 Complete. Write ior Brochure.
CAMERA SLATE Cla^cks
DIRECTOR
CAMERA
DATE
PRODUCED
• Easily eraseable finish
• Hardwood clapsticks
• Silk-screened letters
• Supply dustless chalk
MODEL 1 — 9"xll"— $5.00
MODEL 2— 1 l"xl4"— $8.75
I
Manufacturers and
Distributors of:
Bloop Punches
Cans, Film Strip
Editing Tables
Film Bins
Film Racks
Flanges
Film Editing Gloves
Leader Stock, 16 & 35 mm
Measuring Machines
Plastic Cores, 16 & 35 mm
Reels, 16 & 35 mm
Reels, Non-Magnetic
Split Reels
Rewinds
Sound Readers
licers
>rage Cabinets
Vault Cans
Scotch Tape
Cloth Tape
Sound Recording Tapes
956 NO. SEWARD ST.
HOLLYWOOD 38, CALIF
FILM
HO-23284
. . - . - . . . . - . _ _
The first sensibly priced Hot Press Title
Machine for high quality, fast lettering.
Prints dry from colored foil for instant use.
Acme pegs give perfect registration on
paper or acetate cells.
A professional Animation Stand with accu¬
racy guaranteed by Acme Peg Bar registra¬
tion. Includes all basic movements — does
everything the animator needs.
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392 © American Cinematographer
Old-time Movies on rolls of paper,
like so many adding machine tapes, to¬
day are providing Hollyood its first real
link to the very beginnings of motion
pictures.
The paper-film prints of early-day
flickers have been resting — and deteri¬
orating — in the vaults of the Library of
Congress at Washington, D.C., ever
since they were first filed there for
purposes of copyright. Until 1912 that
was the only legal way to copyright a
movie — by filing a print of it on paper.
These “still photos” of pictures that
moved are about two inches wide — it
varies a little — and anywhere from three
feet to three thousand feet long, and
many of them are without sprocket
holes, for it wasn’t meant that they were
to be projected. Fact is, most of them
never had been projected. The first
successful screen projector didn’t come
along until about 1905; before that
movies could only be viewed in “peep
show” fashion.
The paper positive prints — for that’s
what they are — were filed away in tight
rolls which often shrank together into
tight, misshapen masses on which the
picture images were faded, if they could
he discerned at all.
But they are invaluable, for they are
all that remain of most early-day motion
pictures. Thev reoresent the beginnings
of movement in photographv. All of the
original negatives have beeom° lost, and
what later dupe negatives the^e were
have long since crumbled to powder.
So it is from the treasure trove of
paper "films” now that a whole new
set of celluloid negatives is being made,
through a joint project of the Academv
of Motion Picture Arts and Sciences and
of the Library of Congress, financed by
the Academy.
The tedious copying job onto new
negatives, frame by frame from the
faded prints, is being done with equip¬
ment especially designed for the pur-
nose. at a small laboratory in Hollywood
known as Primrose Productions. Kemp
Niver, manager of the studio, was re¬
cently awarded an Academy “Oscar”
for the accomplishments of his original
Renovare process in doing the work.
After two years of laborious effort, he
and his small staff have duplicated
70,000 feet of film, involving 334 titles.
They have nearly 2,000,000 feet to go
before they are done, involving several
thousand titles, many of them not yet
identified.
Niver devised his method after var-
• July, 1955
ious laboratories and technicians had
tried to reproduce the paper images with
conventional film printing equipment
and had found it impractical. Trained
as a lawyer and formerly a private in¬
vestigator, but wholly unschooled as a
film technician, he solved the problem
by applying the thinking and methods
of an investigator until he found a way
that did work. And then built a machine
like none other with which to do it.
He has already re-created what is be¬
lieved the first movie to be copyrighted
in this country — a tiny piece of film en¬
titled “The Sneeze,” for the action it
depicted. Dating back to 1889, and
copyrighted in 1892, it consists of ex¬
actly 45 frames, original running time
one second, but stretched now to 15.
More impressive that way.
Niver has also turned up a priceless
piece of film showing what may well
have been the historic first flight of a
hand-powered passenger-carrying air¬
plane — but with assisted take-off — sev¬
eral years before the Wright Brothers’
celebrated first-powered flight. He has
duplicated a pirated but uncut version of
Edison’s memorable “The Great Train
Robbery” of 1904, generally thought to
be the first movie with plot; and he has
turned up a two-year previous picture,
“The Life of an American Fireman,”
which had a plot, too.
One of the most exciting of his re¬
productions is the very first, circa 1898.
production of Jules Verne’s “Twenty
Thousand Leagues Under the Sea,”
made in France by George Melies in
collaboration with the author Verne
himself. It runs seven minutes and its
footage includes such supposedly much
later technical tricks as lap-dissolves,
animation mixed with live action, un¬
derwater photography, pan and dolly
shots.
Niver now is working on the restora¬
tion of a full-scale Passion Play movie
which, filmed in 1897 on a New York
building roof, was 2700 feet long and
probably the first religious picture ever
made. It had plot, too, of course.
To do all this, Niver and his staff first
have to soak the paper rolls in a cherm
ical bath and water, and then earefullv
unroll them a few inches at a time. In
the case of early celluloid negatives from
whatever sources, the film must first be
painstakingly patched with clear plastic
before any copy can be made.
And since the early silent films were
photographed at different camera speeds
(Continued on Page 483)
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SCENE TAKE
DATE
IN SHOOTING the surgical sequences, the camera crew
had to work around rigidly prescribed hospital routines
and procedures. Cinematographer Frank Planer had to
figure out ways of placing the camera to shoot the desired
angle without getting in anyone’s way.
MUCH OF THE surgical action was shot in a Los Angeles
hospital. Because there was no place to hang large
lighting units in the operating room, a serious lighting
problem was created. The situation was saved by using
Tri-X negative for most operating room scenes.
The Photography Of Not As A Stranger
In these days of predominantly color production,
Frank Planer’s filming of this epic story creates
a new respect for black-and-white photography.
By HERB. A. LIGHTMAN
‘ ‘ kl ot As A Stranger,” produced and directed by Stanley
I N Kramer, is an incisive behind-the-scenes study of
the medical profession. Brilliantly photographed by Frank
Planer, A.S.C., it represents one of the most demanding
challenges ever offered a Hollywood director of photography.
The film, like the Morton Thompson novel from which it
was adapted, is a mixture of fact and fiction. It’s characters
are fictional — although based, we may assume, upon real
people. Its somewhat off-beat love story comprises the fic¬
tional plot structure necessary to the entertainment values
of the film. But its analysis of the medical profession is of a
strictly factual character. Medical techniques and surgical
practice are portrayed with dedicated attention to authenti¬
city of detail — a factor which, incidentally, imposed severe
limitations upon the director and the cinematographer.
Ordinarily, Hollywood is permitted to take a certain
amount of cinematic license with practically any subject.
But the medical profession is held sacred against even the
slightest exaggeration or distortion of the truth. For this
3-6 O V'lERCV.N Clr.EMATOGRAPHER O JULY, 1955
reason there could be no variation in procedure to favor
the camera. On the contrary, in shooting the surgical se¬
quences the camera crew had to work around rigidly pre¬
scribed routines and procedures. If essential action became
blocked by a nurse standing in a certain place the cinema-
tographer could not request that the nurse deviate from her
set pattern and move out of his way. Instead, he had to
figure out some method of placing his camera and shooting
the required angle without getting in anyone’s way.
But the challenge ran deeper than that. As Planer ex¬
plains it: We were poking our camera into a strange world
of white which is not for the average human eye to see. We
had to be honest in our approach, while bearing in mind
that the raw facts of medicine are, at times, too much for
the average viewer to watch. Therefore, what we did not dare
to actually show we had to suggest so strongly that the
audience would be convinced they had seen it.”
This observation is graphically illustrated in a sequence
having to do with the dissection of a corpse. The cadaver is
only suggested by the indeterminate sheet-covered mass lying
on the surgical table. As the camera pushes into a medium
close shot of the operating surgeon, the sheet is thrown
aside, a sharp incision is made the full length of the body,
and the vital organs are exposed. All of this is done just
outside camera range, of course, but the emphatic photo¬
graphic approach coupled with the running commentary of
the operating surgeon creates a perfect imaginative picture of
the operation without offending the sensibilities of the audi¬
ence.
From a technical standpoint the photography of the surgi¬
cal sequences in the picture constituted a cameraman’s night¬
mare. Much of the footage was actually shot in the operating
room of the Veterans Hospital in Los Angeles. An exact
duplicate of this operating room was constructed on the
sound stage so that long shots and establishing angles could
be photographed more easily.
The average operating room of a hospital is a somewhat
less than ideal locale for photography. In this one there was
room enough for the surgical team but scarcely any extra
room for the film equipment and camera crew. This meant
that Planer had to operate with a reduced crew. There were
no suitable vantage points from which to hang lighting and
there were no “wild’’ walls that could be knocked out to give
the crew space to function. Moreover, it was impossible to
change the positions of personnel or equipment used in sur¬
gery. even though these presented serious obstacles to the
photography of the action. To top it all off there was the
fact that the average camera crew is not inured to the
nauseating atmosphere of the operating room. As a result,
fainting film technicians constituted a very real problem.
Because there was no place to hang large lighting units
in the operating room and because it is forbidden (due to
the damaging heat involved) to shine raw light directly into
an open incision, there was the serious problem of getting
a sufficiently high light level to shoot the surgical sequences.
The main source light actually came from the surgical lamp
mounted above the operating table. Additional light for
purposes of fill-in was bounced off of reflectors. The result¬
ant light level was so low that it proved necessary to use the
new ultra-speed Eastman Tri-X Pan negative for scenes
actually shot in the operating room.
However, for tie-in scenes shot in the operating room
replica constructed at the studio. Planer was unwilling to
use so fast a film stock. The emulsion itself was brand new
at the time and its control characteristics were not entirely
familiar. Moreover, since an operating room is almost en¬
tirely white and since Tri-X was developed for shooting low
key subjects, it would have been very easy to overexpose
the scenes. For these reasons Planer elected to shoot the
studio scenes on Plus-X negative. The resultant match be¬
tween the scenes shot on these two widely different emulsions
but intercut in the same sequence is so perfect that the
variation, if any, in characteristic defies detection by even
the most discerning technician.
The climactic sequence of “Not As A Stranger” portrays
in great detail the technique of a heart operation. As an
example of precise co-ordination of camera and action it is
something of a masterpiece. Rather than break the sequence
into a series of multiple cuts, director Kramer and cine-
( Continued on Page 433)
FEW PLANER pictures, perhaps, have demonstrated his un¬
common flair for warm and realistic effect lighting as does
“Not As a Stranger,” which is aptly illustrated in the four
scenes above. Note the realism he has achieved by the effect
of light spilling onto the walls from table lamps and onto
the players themselves from what logically appears to be
the practical room lights overhead — out of camera range.
American Cinematockaphek
July, 1955
397
After The Last Shot Is Made
... a tremendous post-production staff
takes over to complete the picture. Here,
briefly, is what takes place in a major
studio with a typical feature production.
By ALLAN BALTER
Editor ACTION Magazine, 20th Century-Fox Studio
DUB3ED DIALOGUE, once it’s recorded, is care¬
fully edited and fitted to each reel by highly
skilled technicians like assistant sound editor
Duane Hensel.
ADDITION of sound effects such as “door slams,” crowd
noises,” etc., is a vital post-production activity. These are
added to sound tracks of 20th's CinemaScope films by sound
effects editor Alfred Ross.
PRIOR to scoring a picture, each reel must be
carefully timed and cued for the composer and
the scoring staff — a task handled here by music
editor George Adams and assistant Kenny Runyan.
After the final scene has been shot
on a production, the tremendous
aggregate of talent and know-how whose
labors fall in the general classification
of “post-production” takes over.
The twelve to fourteen weeks that
elapse between the final “Print it!”
and the day the picture is given its first
preview is a sort of mysterious hodge¬
podge of technical activity about which
many who are outside the very top pro¬
duction offices of the studios know little:
Invariably there are added scenes to
shoot, and we know that music gets
added somewhere along the line, but
that’s about as far as many of us go
in post-production knowledge. Actually,
the amount of work and artistry that is
crammed into that short fourteen weeks
is nearly unbelievable.
Take, for example, the average fea¬
ture production here on the 20th Cen¬
tury-Fox lot.
The departments that are actively en¬
gaged in post-production activity take
over immediately at the close of shoot¬
ing. As a matter of fact, a small amount
of what is actually post-production work
goes on during the shooting. This would
especially be true in case some dubbing
or narration were needed and the actor
involved had some time away from the
set. By and large, however, the bulk of
the work is done after photography
closes. Though much of the work we
are about to describe is done simultane¬
ously, for purposes of clarity, we will
deal with each step individually as we
take our hypothetical film through the
post-production steps. Iffljfeagk
Shooting finished, the
film editing department
under Jerry Webb, takes
over. The first man to
actually do post - produc¬
tion work on a film is the
editor. As the picture is
shooting he keeps every¬
thing cut and within a
few days after photog-
POST-PRODUCTION recordings are channeled into
the re-recording department, where the “grand
finale” of post-production takes place. Here,
20th’s Don Rogers threads a re-recording machine.
raphy closes he puts together the “first
cut.'’ This finished, it is run for the
director who, with the editor, may make
certain changes in construction along
with effecting a general tightening of
the picture. This tightened version, in¬
corporating the director’s changes, is
then run for the producer who may also
make certain changes. Then, given the
producer’s and director’s stamp of ap¬
proval, the print is run for Mr. Zanuck
who may also make changes, eliminate
some things, rearrange continuity and
possibly decide on some added scenes
which are worked out with the director
and the producer. These added scenes
are then scheduled as soon as possible
so that they may be shot before the cast
has scattered and the sets struck. The
finished added scenes are incorporated
in the picture by the editor, along with
all changes, then the final cut is again
run for Mr. Zanuck, the producer and
the director. Their final approval then
sends the picture on to the next phase
in the post-production cycle.
From the print ok’d by Mr. Zanuck a
dupe is made which is sent to the music
department. In the meantime, the com¬
poser assigned to the picture has been
sitting in with Mr. Zanuck and the pro¬
ducer and director during screenings of
the picture so that he has a good idea
of its actual construction and sequence
arrangement. Alfred Newman and his
music department run the dupe, which
is studied by Newman and the com¬
poser and the music cutters. The pic¬
ture is run reel by reel and it is decided
where, and how much, music is to be
used.
The music cutters then break down
the picture, timing it out in careful de¬
tail. and the composer writes his music
to these cues. The music written, it is
orchestrated by Ed Powell and the
music is recorded to projection to fit
the picture.
These recordings then go to the music
cutters under Leon Birnbaum and they
build the music tracks, synchonizing the
music to the action. The impact and
aristry that the music department con¬
tributes to a picture is almost immeas¬
urable. The only way one could pos¬
sibly begin to understand what a picture
would be without music is to run one
that way. It’s a shocking experience.
'R hile the Music Department is work¬
ing on scoring and building the music
tracks, the dubbing and sound effects
editing department is at work building
the effects tracks. Though some of the
dubbing is done during production, as
we pointed out. the bulk of it takes place
in the post-production period. Dubbing
is necessitated by a variety of circum¬
stances. Perhaps someone sneezed on
the set at the wrong moment or an arc
might have started to whine. On loca¬
tion a jet might swoop overhead. To
correct any of these or the thousand-
and-one other little things that fall in
the general classification of “extraneous
noises,’' alter Rossi and his crew dub
the dialogue and cut and fit it to the
track. In addition to dubbing, any nar¬
ration that might be required in a short
or feature is done here to projection.
One of the most monumental tasks
(Continued on Page 431)
AFTER scoring a sequence of scenes for “The Racers," 20th’s music
arranger Edward Powell (left), Lionel Newman, Alfred Newman, and
composer Alex North (back to camera) watch screen and listen to
playback of recorded score to check results.
BIRD’S-EYE view of the entire 20th Century-Fox Studio symphony orchestra
during a scoring session on the special recording stage. Scenes which the
music is to accompany are projected during scoring on the large screen
at rear of stage.
BlSoWUND
FOOTAGE
calculator
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JACKSON J. ROSE, ASC, holds copy of “unauthorized” Japanese translation of his American
Cinematographer Handbook, taken from body of dead Japanese soldier during the war. On
table are copies of the eight editions of the Handbook which have been printed since its
introduction in 1935. Over 100,000 copies have been sold.
Origin Of The American
Cinematographer Handbook
How “cuff-notes” made at random grew into an authori¬
tative reference guide for cameramen that has
sold over 100,000 copies.
By JOHN FORBES
Because one cameraman in the early
days of the film industry had a pen¬
chant for jotting down bits of technical
information relating to his profession,
thousands of motion picture photograph¬
ers today have a ready reference guide
that gives them answers to almost any
problem encountered in cinematography.
The cameraman is Jackson J. Hose,
A.S.C., veteran director of photography
and publisher of the American Cine¬
matographer Handbook and Reference
Guide, Now in its eighth edition, there
have been 20 separate printings in all.
The initial printing comprised 1000
copies. To date, over 100,000 copies
have been sold. Buyers include camera¬
men and motion picture technicians in
every country in the world.
Hose began compiling his technical
notes while he was a director of photo¬
graphy at the old Metro studio in Holly¬
wood (before it was merged with Metro-
Goldwyn-Mayer ) . “Rose had slips of
paper with penciled data in every poc¬
ket, recalls one old-time associate. In
time the notes became so numerous they
were hard to locate when they were
needed for reference again. So Rose
bought a small, pocket-size notebook
from a dime store and laboriously trans¬
ferred to it all the data he had gathered
up until that time. Additional blank
pages were provided and these received
additional data notes during ensuing
months.
This diligent data-gatherer was not¬
ably free in passing his information on
to brother cameramen. Almost daily,
those who knew of his pocket com¬
pendium of cinematographic facts often
stopped him for a glance at the book to
get the answer to some new problem en¬
countered on their own photographic-
assignments. Invariably they suggested
that Rose have the data printed in hand¬
book form and sell copies to other
cameramen.
W hich is what Jack Rose did in 1935
— twenty years ago this month. The
original book, said Rose, contained all
the basic charts and tables in almost
daily use by cameramen at that time.
Each chart and table was carefully
drawn with pen and ink and a cut made
for printing. Today, this information is
(Continued, on Page 428)
The Handbook is chock full of data sheets and
charts such as these that give ready answers to
almost any cinematographic problem.
400
American Cinematographer
July, 1955
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234 Piquette Ave., Detroit 2, Michigan
425 Burnamthorpe Road, Toronto 18, Ontario
Artistic Honesty
In Cinematography
You’ll see it in the best photographed
motion pictures. It’s the key to suc¬
cessful professional cinematography.
By FREDERICK FOSTER
Artistic honesty and factual fidelity are as important to
convincing cinematography today as is the very camera
lens itself. Recall for a moment any outstanding job of cine¬
matography and you will invariably remember that it was
the authentic lighting and a camera treatment with the bold
stamp of meticulous pre-production planning that con¬
tributed most to its success — made it stick in your memory.
Before any cinematographer can express, through photog¬
raphy, a situation or subject convincingly, he must first be
convinced of it himself; he must understand it; he must
have had in his own past experience a knowledge and fa¬
miliarity of the subject or situation in a measure comparable
to that which he now wishes to express photographically.
In every artistic endeavor this fact is recognized. Elsewhere
in the motion picture industry, writers, directors and ac¬
tors agree that the most convincing results follow where the
thinking and efforts are based to a great extent upon the
personal experience of the individual.
This, then, appears the keystone to truly successful cine¬
matography. It will probably be argued that the cinematog¬
rapher’s task is more mechanical than artistic — demanding
merely a photographic record of what others place before
his lens. To a certain extent, of course, this is sometimes
true; but if we will consider this fact — That, given the same
scene to light and photograph, different cinematographers
would each do it differently — it must be agreed that, despite
all commercial considerations and any collectivized nature of
film-production, individual expression does play a vital part
in motion picture photography.
Among the industry’s directors of photography, this opin¬
ion is strongly supported by George Folsey, A.S.C., who last
month completed the photography of Metro-Goldwyn-Mayer’s
science-fiction thriller, “Forbidden Planet.”
“I firmly believe that our work can be entirely convinc¬
ing only when we base it on substantial personal knowledge
or experience, or memories of things comparable with those
we seek to put on the screen,” said Folsey. “In the case of
‘Forbidden Planet,’ extensive research and study of the sub¬
ject gave me an insight that approached substantially what
I might have gained had it been possible to have experienced
life in the mythical world portrayed in the picture.
“It is quite improbable, of course, that every cinematog¬
rapher will have experienced situations and emotions abso¬
lutely identical with those of every scene he is called on to
photograph. But his general experience or knowledge should
be such that the majority of scenes to come before his lens
will find some common factor in his memory. Some factor,
that is, which will suggest how such a scene should really
appear to the eye — which will enable him to visualize the
scene and give it complete pictorial honesty in the photo¬
graphic treatment.
(Continued on Page 426)
AN EXAMPLE of artistic honesty in lighting of an i~door ex¬
terior set by director of photography Harry Stradling, A.S.C.,
for “A Streetcar Named Desire.”
THIS SCENE from “From Here To Eternity” dis¬
played exceptional realism in lighting and pho¬
tography as did most of the scenes in this
production for which Burnett Guffey, A.S.C.,
won an Academy Award.
THE THOROUGHLY realistic low-key lighting of scene
below from “Asphalt Jungle” gave an authentic
touch to the tense action that was played before
the camera of Hal Rosson, A.S.C.
American Cinematographer
July, 1955
403
Ul’s “Combination Truck” provides a sturdy, compact, equip¬
ment carrier and a versatile camera support that makes film¬
ing in even the toughest locations comparatively easy. De¬
signer is Virgil Summers, studio Prop Dept, head, shown here
standing on hydraulic platform next to camera pedestal.
*
MAST of truck may be tilted forward or backward to provide
a level platform for camera and crew, when truck is on an
incline in hilly terrain.
Universal - International
Introduces New Camera
And Location Truck
By ARTHUR ROWAN
A RUGGED compact combination
equipment transport and camera
car that would enable a production
company on location to move, in a sin¬
gle trip, the camera, lights, and sound
and grip equipment into the most rugged
of location setups was the goal of Uni-
versal-Internatiional Studio engineers
when they built the “Combination
T ruck.’’
Designed by Virgil Summers, head of
U-I’s Grip Department and constructed
under the supervision of engineers Cecil
Barton and Ralph McClure, the Com¬
bination Truck is said to offer all the ad¬
vantages of the famous “Blue Goose”
camera car which preceded it, and a lot
more.
Because of its compact overall size, its
rugged 4-wheel drive, and the facilities
it provides for transporting all the chief
essentials of production equipment, the
Combination Car already has proved a
big time and money saver in location
shooting for such U-I productions as
“Tarantula” and “Backlash.”
The accompanying photos illustrate
some of the features of the Combination
Truck. In addition to its function as a
camera car and equipment transport, it
also serves as operation headquarters for
the director, script girl and assistants
during shooting — space being provided
for deck chairs on the roof of the truck.
A collapsible railing extends around the
sides, and can be erected in a matter of
seconds to give protection to those work¬
ing on the roof.
Starting with a standard “cab for¬
ward” type short-coupled Ford truck,
U-I engineers added a Marmon-Herring-
ton 4-wheel drive, the van with rein¬
forced roof and collapsible railing, a
hydraulic tailgate, and a hydraulic mast
at the front with elevator platform. No
less important is the hydraulic system
which powers the mast, elevator and the
tailgate. Hydraulic power is generated
by the truck’s motor, and there are two
5-gallon accumulator tanks beneath the
truck which enable the system to func¬
tion to a limited extent when the motor
is not running. The pump cuts off auto¬
matically whenever the pressure reaches
1600 pounds.
The truck’s salient feature, perhaps, is
the accommodations provided for the
camera and cameraman. This is the
hydraulic mast and platform mounted on
front of the truck. The mast, similar to
that of the conventional fork-lift truck,
is so mounted that it may be tilted for¬
ward or backward whenever the truck
rests on an incline. In this way, the
camera platform is made level. When
platform is fully elevated, it affords a
maximum height from ground level to
camera lens of 19 feet 6 inches.
Mounted on the platform is an adjust¬
able steel column or pedestal for the
camera. Made of tubular steel 8 inches
in diameter and machine ground, it is
in four sections, each threaded to permit
detaching the various sections whenever
it is necessary to shorten the pedestal.
I he pedestal is not raised or lowered
mechanically by the hydraulic system,
but manually, as stated above. When the
camera platform is raised, the pedestal
may be lowered through floor of the
platform. When the platform is lowered
to ground level, the pedestal is shortened
by removing one or more of the sections.
On top of the camera pedestal is a
404
American Cinematographer
July, 1955
special self-leveling camera base, a twin-
disc arrangement with leveling screws
positioned at points N.'S.E. & W. Small
spirit levels built into the base indicate
when absolute level is attained.
Aiding also in the leveling operation
are two hydraulic stabilizers which ex¬
tend downward at an angle from top of
the mast. These are pressure-driven
against the ground as required to level
the camera platform and at the same
time provide the necessary stabilization
for the mast and platform against side-
sway.
Overall stabilization of the Combina¬
tion Truck is further assisted by lower¬
ing the hydraulic tailgate to the ground
and exerting additional pressure until
the truck’s springs no longer function
and the whole unit rests solidly, whether
on an incline or on level terrain.
Hydraulic controls for the mast and
platform are mounted in the front left
fender, together with a pressure indica¬
tor dial. There are four levers which 1)
raise or lower the platform; 2) tilt the
mast forward or backward; 3) raise or ^
lower the right jack; and 4) raise or
lower the left jack. An automatic safety
catch prevents accidental operation of
any of the levers. Dual controls for the
hydraulic tailgate are positioned at the
rear of the truck, at either side.
Steel guard rails extend around four
sides of the camera platform and are
quickly demountable. There are fixtures
at four different levels on each of the
platform posts to take lamps, and addi¬
tional lamps may be clamped to the
handrails when necessary.
The van section just back of the truck
cab has been ingeniously designed to
serve a great many functions. Most of its
spacious interior is given over to a port¬
able Army-type 225-ampere gas-powered
generator. (When additional power is
needed, another 600-ampere Mole-Hich-
ardson generator is mounted on the hy¬
draulic tailgate. ) The hydraulic mast
and platform, when detached from front
of the truck, is carried inside the van,
also.
Lockers built into the van top or over
the cab afford space for storing the sec¬
tions necessary for erecting a 6-foot tu¬
bular steel parallel ; 4 easel-type reflec¬
tors; 6 nesting camera boxes; two cen¬
tury stands and flags; and one umbrella.
A storage compartment over the cab ac¬
commodates the sectional camera pedes¬
tal when not in use.
On the right-hand side is a cabinet
that holds a magnetic film recorder. Im¬
mediately below is a battery power-pack
which provides DC current to drive the
camera motor and power the sound sys¬
tem. This consists of 10 twelve-volt stor¬
age batteries connected in series. The
pack may be quickly lowered at night to
afford access to the cells and to permit
re-charging.
A quick-demountable bracket is pro¬
vided that snaps into place on the instru¬
ment dash of the truck and which holds
the mixing panel for the recording sys¬
tem. Next to the truck driver, the mixer
thus has the most comfortable spot in
which to work.
As we go to press, the Combination
Truck is on location near Tucson, Ari-
NO LOCATION is too tough for the Combination
Truck. Here it moves camera and crew into a
rugged desert location in Arizona for U-I's
“Backlash,” filmed by Irving Glassberg ASC.
zona where the U-I color production
“Backlash7' is being photographed by
director of photography, Irving Glass¬
berg, ASC. It has more than lived up to
expectations as a multi-purpose unit
capable of taking camera, lights, re¬
cording system, and essential grip equip¬
ment into the most rugged of terrain —
all at one time. At the same time it pro¬
vides a sturdy and versatile camera
mounting, eliminating the bother of set¬
ting up camera parallels, which is com¬
mon on location shooting. end
COMBINATION TRUCK in use on location on the U-I
production “Backlash,” photographed by Irving
Glassberg, ASC. Here sectional camera pedestal
height has been reduced one half by detaching
sections.
ABOVE PHOTO shows typical location for which the Combination Truck is ideally suited.
Camera, lights, generator, and grip equipment are carried to the site all in one trip by the
one vehicle.
American Cinematographer
July, 1955
405
Now audiences sit entranced
...sirens of the sea all around
They’re there with their stars— within touching dis¬
tance— almost! That’s the thrill big-screen shows give
as nothing else in the entertainment-world ever has!
part of it comes from size, of course; much of it is
illusion; all of it is the result of new technics in pro¬
duction, processing and projection . . . technics which
the Eastman Technical Service for Motion Picture
Film is proud to have helped develop. Branches at
strategic centers. Inquiries invited.
Address: Motion Picture Film Department
EASTMAN KODAK COMPANY
Rochester 4, N.Y.
East Coast Division
342 Madison Avenue
New York 1 7, N.Y.
Midwest Division
1 37 North Wabash Avenue
Chicago 2, Illinois
West Coast Division
6706 Santa Monica Blvd.
Hollywood 38, California
. ■ .
i
t- sms
Newsfilm Tailored
For Television
A corps of 250 top-flight cinematographers
supplies newsreel coverage of world-wide
events for CBS’ Newsfilm operations, which
daily provides latest pictorial news for
hundreds of the nations television stations.
By JAMES J. KANE
Trade News Editor, CBS Television
Newsfilm, a product of CBS News, is the only syndi¬
cated filmed news service tailored exclusively for in¬
dividual television stations. Starting from scratch in 1953 as
a separate unit of CBS News, this new newsgathering or¬
ganization now starting its third year already has achieved
recognition as “the best news him series” in non-network
television.
A major part of the credit for this progress belongs to
Newshlm’s 250 topflight staff and correspondent motion pic¬
ture cameramen stationed throughout this country and in
principle cities throughout the world. Headed by vice-presi¬
dent Sig Mickelson, Newshlm’s actual operations are man¬
aged by Howard L. Kaney, who joined the organization at
its inception following 20 years of varied news and pictorial
experience with Associated Press in Washington, Chicago
and New York.
The syndication service offers daily fully-scripted News-
film, which includes both sound-on-hlm and silent him cov¬
erage of spot news, news features, news background stories
and sports events from all parts of the globe. Full facilities
of the Newshlm technical staff and worldwide camera crews
are utilized to provide maximum coverage — no matter where
the dateline.
Nev/shlm is sold to television stations everywhere through
CBS Television Film Sales, Inc. Production is dispatched
speedily to stations direct from four processing centers in
New York. Washington, Los Angeles and Chicago, after
preparation by a staff of more than 100 full-time writers,
editors, technicians and traffic experts. Nearly all him is sent
in unprocessed to Newshlm production centers.
Among the cities where Newshlm maintains fulltime cam¬
era crews are the four mentioned above as processing cen¬
ters, and London, Paris, Rome, Frankfurt and Tokyo. Cam¬
era correspondents, always on call, are located in Berlin,
Vienna, Seoul, Beirut, Manila, Cairo and other important
news centers throughout the Lhiited states, elsewhere in the
Americas, in Europe and in Asia.
Newshlm camera correspondents have been recruited with
NEWSFILM’S 250 topflight staff and correspondent motion
picture cameramen stationed throughout this country and
abroad produce the news footage for the only syndicated
news service tailored exclusively for individual TV stations.
great discrimination. Some are from newsreel ranks. Some
are from Hollywood and other world film centers. Others
have been taken off studio television cameras, and still others
are former newspaper photographers. All were rated highly
in their particular fields.
Regardless of their backgrounds, however, they are all put
through an indoctrination or refresher course in television,
and taught ... 1) to shoot tight for television framing
rather than wide for large screens, magazine or newspaper
production ... 2) to concentrate on closeups — facial expres¬
sions, hands, important details. They also are briefed on the
importance of the exclusive or unusual, the human interest
story for television rather than routine coverage of set events
like parades, pageants and water-skiing — all favorite news¬
reel subjects
But even beyond their reporting and picture-making skills,
Newsfilm correspondents (and their cameras) must he
capable of turning in top-caliber technical performances,
whatever the assignment.
That’s why correspondents are intensively trained and con¬
stantly supervised by Newsfilm’s own technical department.
That' s v\ hy all of the equipment they use — cameras, types of
film and sound gear — has been carefully tested, modified as
necessary and then meticulously specified by CBS tech¬
nicians.
And technical control continues long after footage is shot.
Critiques go out regularly to camera correspondents for their
instruction and improvement. Comprehensive picture and
sound tests provide standards which guide not only the cor¬
respondents themselves, but manufacturers of Newsfilm
equipment and Newsfilm laboratory technicians.
As an example of the sort of thing that goes on daily in
the news film operation, the following story is cited. It gives
some idea of the size of the staff, the alertness of the per¬
sonnel and the tremendous scope of Newsfilm.
Recently, the news wires carried a bulletin from Texas
telling that a severe storm was blowing and that high winds
were kicking up dust in Colorado, New Mexico, Wyoming
and sections of Texas and Oklahoma. The national assign¬
ment deskman on duty immediately placed a call to News-
film’s camera correspondent in Amarillo, who reported the
worst dust storm of the year sweeping through the Texas
panhandle. He was instructed to start shooting immediately
and to check hack with the desk at the earliest opportunity.
Meanwhile, the deskman had put through a second call to
a camera correspondent in Denver, to whom he outlined a
roundup story covering all aspects of dust destruction. He
was told to shoot with special care, to include closeup inter¬
views with affected farmers, details of farms, animals, etc.,
and to point up the destruction talked about by the farmers.
The next step was to call a third correspondent. This one
in Lincoln Nebraska. He was instructed to do a wrap-up,
sound and silent, of as much storm damage as he could reach
in the Nebraska area.
Within two hours of this Hurry of telephone calls, the
(Continued on Page 424)
LARRY RACIES, Newsfilm cameraman in action. AS TOMORROW’S coverage is being planned . . . TODAY’S 24 hours are edited.
ALL DAY LONG incoming newsfilm is hurried
TO THE nearest lab and swiftly developed
AND prints rushed to the nation’s TV stations
Something missing from your film processing picture ? At Precision we’ve learned
over the years that selective printing for every scene plays a vital role in a perfect print —
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Leaders in the film industry— directors, producers, cameramen— have learned that Precision
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In everything there is one best... in film processing, it’s Precision.
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SEE PAGE 391 FOR IMPORTANT ANNOUNCEMENT ON ANIMATION EQUIPMENT
The Use Of Miniatures In 16mm Films
Producers of industrial and television films
can enhance production values and shortcut
costs through use of miniature sets and models.
By C H A R L
Hollywood studios save millions
of dollars in production costs
through the use of skillfully designed
miniature sets and props. These are
used where it is impractical or too costly
to build a full-scale set, or where ex¬
tensive destruction of a set is called for
in the script, or where certain spectacular
phenomona are indicated. Borrowing a
page from Hollywood, the producer of
television or industrial films also can
make excellent use of miniatures to add
vast scope and expensive-appearing pro-
S L O R I N G
duction value to films produced on a
modest budget.
A successful miniature sequence be¬
gins with the construction of the model
itself. There are on the market carefully
detailed model trains, boats, airplanes,
etc., that so closely duplicate their full-
scale counterparts that they can be used
as miniatures with little or no adapta¬
tion. However, in some cases it is neces¬
sary to build models specifically to meet
the requirement of a particular sequence.
Working from photographs or draw¬
ings of the “life size” set or prop, a
series of plans are drawn to the desired
scale. In such cases, scale is largely a
matter of personal preference, but it
usually ranges from 3 inches/1 foot to
1 inch/1 foot. Generally speaking, the
larger the scale of the miniature the
easier it is to work with and the more
convincing will be the illusion.
When the plans have been drawn the
problem then arises as to who should
actually build the minatures. If the pro¬
ducer or cameraman or his associates
are handy with this sort of thing, fine.
If not, it may be necessary to call in a
professional model maker. Actually, the
best bet is to consult local hobby shops
to find out who are the best local build¬
ers of model airplanes and ships. There
are some very exacting craftsmen among
these hobbists and many of them will be
happy to build your miniatures to order
for a reasonable fee. Whoever you select,
however, be sure to allot him sufficient
time, as the building of models is a very
slow and exacting process.
Miniatures fall generally into two
categories: those that are stationery, and
those that entail movement. Stationery
miniatures include such items as houses,
castles, room interiors, landscapes, etc.
Moving or animated miniatures include
trains, boats, airplanes, autos, etc. It is
extremely difficult to make convincing
miniatures of animals or humans in
action.
Stationery miniature sets are often
used to establish locale, so that a dis¬
solve can be made to a smaller “live”
set representing a part of that locale.
For example, where it is desired to
establish the sequence locale with a shot
of a miniature castle, one can then dis¬
solve either to a full-scale interior of a
room of the castle or to a section of the
battlements on the exterior of the build¬
ing. In any event, the illusion will be
strengthened by moving the camera in
slowly toward the miniature and also by
moving in slowly toward the live scene,
dissolving between. In this way the audi¬
ence gets the realistic impression that
they are moving in on a portion of the
castle they have seen in the miniature
long shot.
Miniature landscapes become neces¬
sary when a particular type of terrain is
called for which does not actually exist
where the film is being shot. For ex¬
ample, in shooting a film during the
summer in, let us say, Kansas — and the
script calls for a snow-capped mountain
with a chalet on its summit and a par¬
ticular type of trail leading up to it—
the only alternative (outside of being
ON THE MARKET are accurate-scale toy automobiles, trains, trucks, airplanes, etc., which
are ideal for miniature work. Here toy autos are used on miniature set by Motion Picture
Unit of the Aetna Casualty & Surety Co. in producing film on automibile safety. Balance of
set was built to same scale as cars. Note zoom lens on Cine-Special camera. Action of
cars was filmed in stop-motion.
412
American Cinematographer
July, 1955
COLORS USED in painting miniature houses and cars are checked against the scenic back¬
ground for one of the sets for Aetna’s “Live and Let Live.” Meticulous care with detail en¬
hances illusion of reality in miniature sets.
lucky enough to find just the right lib¬
rary shot) is to build the snow-capped
mountain in miniature.
The first step is to construct a frame¬
work out of scrap lumber over which
chicken wire is formed in the approxi¬
mate general shape required. More de¬
tailed sections can be formed out of
burlap which should be liberally brushed
with a “sizing” material used in the
construction of stage sets. Papier mache
is then applied over the entire mountain
framework, and then painted with set
construction paint into which some com¬
mon soil is mixed to give it texture.
Miniature boulders and foliage can then
be glued into place to add realism.
The snow-capped effect is achieved
by painting the summit with flat white
paint into which has been mixed some
gypsum crystals or sparkle compound
of the type used on Christmas trees.
Realistic snow drifts can be formed out
of white absorbent cotton over which
gypsum or sparkle is sprinkled.
A roaring stream or waterfall can be
created in miniature on a suitable piece
of terrain cut by hand to the desired
contour. It is important that no full-
size foliage be present in the foreground
or close background, as this will destroy
the illusion. A source of water with
sufficient pressure to create the proper
turbulence is an important requirement.
The scene will, of course, have to be
filmed at accelerated speed in order to
slowr the water movement down to a
ponderous flow which would be faithful
to the full-size counterpart.
The matter of accelerated camera
speed applies to almost all movement in¬
volving miniatures, especially wind ef¬
fects, water effects, explosions, etc.
Rarely should such scenes be photo¬
graphed at less than 48 frames per sec¬
ond, and preferably at speeds ranging
up to 128 f.p.s. The camera speed to use
will vary with the specific situation, but
when in doubt it is better to shoot the
effect at several speeds (with multiple
cameras, if necessary) and select the
take that produces the best illusion.
Very often it is possible to combine
a partial miniature with a full-size set¬
ting to achieve a desired illusion. For
example, say a large factory is to be
used for the establishing exterior long-
shot of a sequence. For script purposes
it is necessary that the factory bear a
certain fictitious name. But suppose it
is impractical to put up full-scale signs
or a large archway to thus identify the
locale. The effect can be achieved by
constructing a miniature archway or
gate with the fictitious name inscribed
on it. The archway is then set up in
front of the factory, sufficiently far
away, so that the full scope of the lay¬
out will show. The most realistic effect
will be achieved by shooting the scene
with a wide-angle lens, with the camera
at ground level. Very often miniatures
of this type can be set up in such a way
as to block out any existing signs or
landmarks that would reveal the true
identity of the locale. It is basically a
matter of juxtaposing the miniature cor¬
rectly in relation to the full-scale set.
This same principle applies to almost
any type of miniature desired. Minia¬
ture buildings can be set up against a
background of real buildings. A minia¬
ture ship can be floated in a small tank
placed against a background of real
ships floating at anchor in a harbor. A
miniature military tank can be made
(Continued on Page 435)
COUNTRY HIGHWAY for “Live and Let Live.” While countless materials were used in
construction of the set, the basic foundation began with a wood framework covered with
chicken wire. Plaster of Paris is used to mold the terrain; sand and earth give realistic finish.
American Cinematographer
July, 1955
413
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A Parallax-correcting
Viewfinder
For 16mm Cameras
The need for precise
parallex-correction in filming
closeups of wildlife resulted
in this unique automatic device.
By L. F. FACHMAN
SHOWN HERE is author’s automatic parallax-correcting view¬
finder mounted on his Bolex 16mm camera. The same device
is adaptable to other 1 6mm cameras.
ONE of THE difficulties I encoun¬
tered early in making 16mm mo¬
tion pictures was the problem of paral¬
lax. A professional still photographer
for more than forty years, I turned to
the 16mm camera as a means of record¬
ing the subjects of my hobby — wildlife.
Naturally this involved the use of tele¬
photo lenses for closeups, where parallax
correction is critical.
After giving some thought to the prob¬
lem, I devised a method which involved
using a lens-projected image in the
finder tube, and a means for automatic¬
ally adjusting the convergence of the
finder tube as the lens of my Bolex H-16
camera was focused. By fastening a
roughly designed cam on the focusing
ring of the finder lens, I discovered that
this would cause the lens to move to¬
ward or away from the camera accord¬
ing to the particular distance I was
focusing. Through trial and error, I
FRONT VIEW, showing cam and gear ar¬
rangement.
finally arrived at the correct shape the
cam must be in order to produce ab¬
solute correction for all distances.
This arrangement worked fine until I
got to ‘"dreaming'’ again: Why not re¬
place this cam, I reasoned, with one hav¬
ing gear teeth and operate it by a shaft
from the back of the camera? This, I
did — and it worked fine. The next step
was to put gears on the focusing rings
of all my camera lenses, and a corres¬
ponding gear of the proper size on the
aforementioned shaft; this enabled me
to focus the camera lens and the finder
lens simultaneously and in sync, when
operating the shaft of the finder from
behind the camera.
The arrangement enabled me to
greatly improve my wildlife pictures.
Now all I had to do was set the camera
lens for the prevailing light, sit com¬
fortably in my blind, and focus the
finder lens on the bird or animal that
SIDE VIEW, showing relative position of
finder.
was my subject.
For the finder, I found that the most
practical lens to use was a 3-inch, wide
open, which is sufficiently sensitive to
varying distances and is not so great in
focal length as to make the finder too
large for what I wanted it to do. My
aim was to have the finder show the
exact field of lenses ranging from 25mm
to 6-inch focal length. The whole idea
worked so well that I thought it worth
patenting, for which I have received
patent No. 2.640.777.
Following is a brief description of the
components of the finder and some re¬
marks on its manner of operation. The
reference numbers refer to similar num¬
bers which identify certain features or
parts in the three patent drawings which
are reproduced below.
The viewfinder attachment, which is
adaptable to other cameras besides the
(Continued on Page 428)
TOP VIEW, showing arrangement of focus-
gears.
American Cinematographer
July, 1955
415
Amateur
CINEMATOGRAPHY
GOOD EDITING, as well as good photography, depends a great deal on a carefully detailed
script. The latter insures that there will be adequate shots to form a cohesive continuity
when it comes time to put he film together at the editing board.
Why A Shooting Script?
The preparatory work is the most creative and
thus the most exciting part of film making.
By HAROLD BENSON
After the novice cine filmer ac¬
quires his first camera, he usually
shoots a number of rolls of film before
he comes to realize how a little careful
planning in advance can make all the
difference between a mundane collection
of unrelated shots and orderly, logical
sequences with pep and point.
This realization is the turning point
for most amateurs. Quite a number, un¬
fortunately, never even get this far; and
all too many stop at the note-making
stage. “I don’t need a shooting script —
I know what I want to shoot,” is the
usual cry. Perhaps it’s true. But the most
experienced professional would never
think of attempting to carry the details
of a single sequence in his head, let
alone a complete film.
One curious belief of the “no-script-
ers” is that a script restricts a film
maker's freedom. They argue that
there’s no scope left for those last-minute
ideas that come just as you’re about to
press the button. The truth is that the
more details there are in a shooting
script, the greater is the amount of free¬
dom that can actually be enjoyed.
Look at it this way. A mere note on
the action of a shot will mean that the
director’s attention is mainly occupied
by routine problems, especially if he is
a lone worker. But a script that shows a
thumb-nail sketch of the scene to be cov¬
ered and gives such details as the
approximate footage required, camera
movements, angles, optical effects and
continuity dangers leaves the film maker
free to examine the opportunities offered
by the circumstances of the moment.
He knows the mechanical routine is
already down in black and white, and a
simple check against each item will in¬
sure that none of these essentials are
overlooked. But meanwhile he can for¬
get them, and concentrate on exploring
the possibilities offered by his location
and cast.
The best scriptwriters are those who
have developed their visualizing powers
to the utmost. When they think up a
plot, they see sequence after sequence
projected on a kind of mental screen.
There is none of the plodding shot-by¬
shot labor that so exhausts the novice.
By the time the final shooting script
stage has been reached, they can vis¬
ualize every shot so clearly that they
have only to note down the details.
All the grinding agonies of the be¬
ginner’s usual technique of lumbering
from one shot to the next can be avoided
if you learn to think cinematically, a
sequence at a time. It’s not as tricky as
it may sound. After all, we think and
dream in moving pictures. Cuts, dis¬
solves, tracks, pans, closeups and long
shots are familiar enough in our
thoughts.
It doesn’t need much practice to make
these pictorial day-dreams coincide
pretty closely with shooting script re¬
quirements. For a start, think of a single
situation, and then give your imagina¬
tion complete freedom. You’ll be sur¬
prised how cinematic the result is. Think
of, say, a train wreck, and you’ll prob¬
ably find you “see” a long shot of the
whole scene at once, followed by detailed
medium shots and closeups. This is just
the way in which you would expect to
find the subject treated on the screen.
Try the same technique with a series
of actions, and you'll discover the result
is similar. Imagine that you’re consid¬
ering Junior throwing a ball about in a
field, losing it in the long grass, search¬
ing for it and eventually giving up. Sev¬
eral scenes will spring to mind at once.
Note or sketch them immediately, or
they’ll disaopear while you're thinking
about the footage between them.
I can only work on this situation from
the images that occur to me. of course.
What fo'lows is merely a personal ap¬
proach but it may help you to get your
own ideas down on paper. I’m not sug¬
gesting for a moment that this would he
the only way or even the best way to
tackle this incident. It’s simply an ex¬
ample of translating immediate ideas
into shots, working on the gaps, and
polishing up the whole thing into a
script that will give all the facts neces¬
sary to a lone worker who wants to de¬
vote his attention to making the most
of his circumstances.
(Continued on Page 430)
416
American Cinematographer
July, 1955
Every scene has more life and sparkle
when you use Ansco Hypan Film
This superior, all-around Ansco black-and-white
movie film is made especially to put more snap
and crispness into your personal motion pictures.
Ansco Hypan yields these outstanding results
because it gives you fine-grain images with in¬
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Hypan also offers the high speed (Exposure
Indexes of 40 for daylight, 32 for tungsten) that
permits you to take top-quality movies indoors
or outside.
What’s more, there’s real economy in Hypan’s
low price. It lets you take more fine movies for
your money.
Leading photo dealers everywhere have Ansco
Hypan for 8 and 16mm cameras. Try Hypan
Film soon and see how much more life-like your
movie footage can be.
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Ask for Ansco Hypan Film
Amateur
CINEMATOGRAPHY
1
BUGS IN HIS LENSES!
It isn’t enough to make spectacular shots of
an insect close up; the real challenge is to
plan and execute movies of its entire life
cycle, says this entomologist photographer.
By NORMAN E. FLITTERS
4
REPRODUCED above are frame enlargements from recent
16mm color films of insect life produced by the author. At
top (1) is butterfly and mantid; (2) eggs of butterfly highly
magnified; (3) head of mantid; and (4) monarch butterfly
caterpillar ready to pupate.
I have photographed in 16mm the complete life cycle of a
great many insects. Where much of this sort of filming
by both amateurs and professionals has embraced only cer¬
tain phases of insect life or growth, my endeavors resulted
in faithful records of the full and unbroken life cycle of
such subjects.
Insects are endowed with a positive affinity for doing the
most unpredictable things at the most exasperating times.
I recall such an instance occurring during the filming of
the life history of the Black Witch” (Erebus odora), one
of the largest of nocturnal moths. This particular larval
specimen had been carefully nurtured from egg to final
caterpillar stage, and all indications from size through color
change to peristaltic motion indicated that the larva was
ready to pupate.
The camera, a Bolex “16” with a 4” telephoto lens was
mounted on an optical stage with two 3200-K lights mounted
in reflectors. The moth was lying reposed in an earth cell
just below the surface of the soil, which was contained in
a metal pan. An all-night vigil resulted in negative results,
as did the following hours of daylight; so, from sundown
on through the succeeding night another careful watch was
again undertaken. Around the “witching hour” the activity
of the caterpillar indicated that final pupation was about to
take place. The lights were turned on and the camera started
and, sure enough, the insect began to cooperate.
Slowly the caterpillar began to shed its old skin with all
the characteristic motions that, to the uninitiated, are spell¬
binding. At last it looked as though all was success, but alas,
for some unknown reason, my subject suddenly lost interest
in the performance of its role and lay quiescent in the earth.
Lights were dimmed, the camera stopped, the insect’s name
taken in vain, and the cameraman disgustedly reclined in a
chair. Every few minutes the scene was viewed; each time
no action. Then slowly sleep began to catch up with the pro¬
duction man and after about 15 minutes of napping a
scramble was made for the lights. There lay a perfectly
formed pupa serenely coloring in its new skin, oblivious of
the fact that it had ruined two nights’ sleep, yards of valu¬
able film, and left the cameraman with unsupported evi¬
dence for the story he had to tell his wife of sitting up two
whole nights with a moth.
While it is discouraging to work with the tender, unpre¬
dictable and immature stages of insect and animal life, it
offers much in compensation, for who can help but marvel
at the hatching of an egg less than 2mm. in size to be fol¬
lowed by the larval development, pupal formation, and then
(Continued on Page 420)
418
American Cinematographer
July, 1955
Alive as a heartbeat!
k - f" :-t
illillilitil
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Scene from "A Man Called Peter,
20th Century-Fox CinemaScope Production
BALTAR
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A. M. P.
A. S.
BUGS !N HIS LENSES!
(Continued from Page 418)
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ISSUES
lost. Valuable technical data in every
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While Supply Lasts
AMERICAN CINEMATOGRAPHER
(Foreign, 40c)
1782 No. Orange Drive, Hollywood 28, Calif.
ihe dramatic climax of insect develop¬
ment when a gaily colored moth makes
its triumphant entry into the world!
I am sure that at times my family
think that they have a real honest-to-
goodness screwball at the head of the
household, for on occasions caterpillars,
frogs, snakes and all kinds of little deni¬
zens of field and garden appear slowly
emerging from my pockets or out of my
clothes closet.
But all of this has its compensations
when finally these little-known marvels
of nature are revealed in their own in¬
imitable screen story with all the color
and pageantry of a colossal Hollywood
production. The question most frequently
asked of me is, “How do you know
where to look for the particular insect
and how do you recognize it?” Both
mute questions, but each with a simple
answer. Being an entomologist by pro¬
fession and a cinematographer by avoca¬
tion, the subjects present no problem.
However, I feel that any ardent, con¬
scientious amateur imbued with the
blessing of patience and a gift of keen
observation can find enough material in
his own backyard to produce a feature-
length motion picture on nature sub¬
jects.
Step outside to your garden for a mo¬
ment and look around. Yes, the grass
needs cutting, but look at those grass¬
hoppers cavorting in it. Catch a couple;
put them into a glass jar with perfor¬
ated top and provide them with a few
tablespoons of soil. Watch closely and pa¬
tiently, and see if one of them tries soon
to sit in the soil; if so, it will probably
be a female. Leave her undisturbed, but
later, upon her departure, examine the
soil for eggs that she may have de¬
posited. If such is discovered, so com¬
mences your film story, and each succes¬
sive step of preimaginal development can
be photographed with either extension
tube or through the medium of a low-
powered microscope.
Perhaps a caterpillar is observed in
the yard gluttonly munching on the
wife’s prized petunias. Grab it, give it a
few leaves to chew on, and put it in a
jar having a ventilated cover. With your
camera, make closeups of it munching
the leaves. If you are lucky, you may see
it stretch out on the bottom of the con¬
tainer and convulsively creep out of its
old skin; then, still abundantly fed with
leaves and given a sprinkling of water,
you may see it develop to the stage where
it begins to spin a cocoon, finally cast
off its old caterpillar integument, and
transform into a hard-case pupae from
which a moth or a magnificent butterfly
will ultimately emerge.
420
American Cinematographer
.July, 1955
The key to your garden gate unlocks
a world that you should most certainly
explore. hat special equipment do you
need ? The answer lies with the individ¬
ual. To photograph ordinary phases of
insect life, particularly the larger forms,
requires nothing more than a steady
tripod, a camera equipped with a tele¬
photo lens, some photoflood lamps, and
a creative mind. Remember that most in¬
sects are delicate things to handle and
only act normally in familiar surround¬
ings. Don’t put a nice butterfly larvae in
a butter dish just because its name im¬
plies this affectation. If such is the only
dish available, then put some earth in it;
give your subject a few pieces of plant
material you found it feeding upon ;
make it feel at home, and you will have
its cooperation, to some extent at least.
Remember that insects inhabited this
earth long before we did (but don’t ask
me what bed bugs and mosquitoes fed on
at that time) and they are not comfort¬
able in cocktail glasses and ash trays. So
if you undertake to explore their life
cycles indoors in your home, remember
to bring a little of the great outdoors in
with them.
In producing some of the most com¬
plete life history studies of insects ever
to be filmed in color, I have learned the
importance of providing adequate but
suitable feed, a constant supply of water,
and the maintenance of sanitary con¬
ditions to meet the requirements of the
particular insect.
Perhaps in passing a few tips on the
techniques and gadgets that have re¬
sulted from this fascinating study would
be of value to other cinebugs.
Beginning with the egg, since we know
that this came before the caterpillar, let
us assume that the relative size of our
specimen is too minute for macro-photo¬
graphic treatment via the usual exten¬
sion tube method, so we have to resort to
the use of the microscope. Armed with
just a plain monocular low-power micro¬
scope and the necessary camera and
floodlights, what is the most satisfactory
technique to apply? Shall we just mount
the camera on a suitable firm support
and let our standard one-inch lens (wide
open and set at infinity ) rest on the eye
piece of the microscope, or should we
remove the camera lens and just allow
the lens receptacle to be seated on the
microscope?
I prefer the former method by choice,
but to obviate the risk of out-of-focus
frames, the following technique will in¬
sure the cameraman of uniform, sharply-
focused objects every time the camera
is set up. The actual problem confronted
in cinematography is that of registering
an image on the film with sufficient sharp
focus to show strong definition and clar¬
ity of the subject matter. Many thorough¬
ly commendable commercial apparatuses
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American Cinematographer
July, 1955
421
AMERICAN
ACTIVE MEMBERS
L. B. Abbott
David Abel
Lloyd Ahern
Lucien Andriot
Gert J. Andersen
Arthur Arling
John Arnold
Lucien Ballard
Joseph Biroc
Charles P. Boyle
John W. Boyle
Wm. W. Bradford
Elwood Bredell
Norbert Brodine
Joseph Brun
Robert Burks
Ellis W. Carter
Walter Castle
S. C. Chuck
Dan Clark
Charles G. Clarke
George Clemens
Wilfrid Cline
Russell Collings
Edward Colman
Olle Comstedt
J. Burgi Contner
Stanley Cortez
Ray Cory
Edward Cronjager
Floyd Crosby
Wm. H. Daniels
Mark Davis
Robert deGrasse
George E. Diskant
Linwood Dunn
Edwin B. DuPar
Elmer Dyer
Paul E. Eagler
Arthur Edeson
A. Farciot Edouart
Russell Ervin
Max Fabian
Daniel L. Fapp
Ray Fernstrom
Frank Finger
Edward Fitzgerald
Frank R. Follette
George J. Folsey, Jr.
Ellsworth Fredericks
Henry Freulich
Karl Freund
John P. Fulton
Lee Garmes
Frederick Gately
Maury Gertsman
Alfred L. Gilks
Irving Glassberg
Donald C. Glouner
James Gordon
W. Howard Greene
Roster
SOCIETY OF CINEMATOGRAPHERS
JULY 1 , 1955
Jack Greenhalgh
Loyal Griggs
Burnett Guffey
Carl Guthrie
Ernest Haller
Sol Halprin
Ralph Hammeras
Russell Harlan
Charles Harten
Reed N. Hawthorne
Charles W. Herbert
John L. Herrmann
Sid Hickox
Gerald Hirschfeld
Robert Hoag
Winton Hoch
David S. Horsley
Erich Horvitch
James Wong Howe
Allan E. Irving
Fred W. Jackman
Ray June
Boris Kaufman
W. Wallace Kelley
Benj. H. Kline
Lloyd Knechtel
H. F. Koenekamp
Milton Krasner
Charles B. Lang, Jr.
Joseph LaShelle
Ernest Laszlo
Charles C. Lawton, Jr.
Sam Leavitt
Paul K. Lerpae
Lionel Lindon
Leo Lippe
Harold Lipstein
Joe MacDonald
Jack MacKenzie
Don Malkames
Fred Mandl
Ricardo Marcelino
J. Peverell Marley
John J. Martin
Harold J. Marzorati
Rudolph Mate
Ted McCord
Wm. C. Mellor
Ray Mercer
Russell L. Metty
Arthur C. Miller
Ernest W. Miller
Virgil Miller
Victor Milner
Hal Mohr
Ira H. Morgan
Nick Musuraca
Harry C. Neumann
Louis Page
Ted Pahle
J. F. Painter
Kenneth Peach
R. W. Pittack
Robert H. Planck
Frank Planer
Frank Redman
Ray Rennahan
Irving Ries
Irmin Roberts
George H. Robinson
Guy Roe
Len H. Roos
Jackson Rose
Charles Rosher
Harold Rosson
John J. Russell, Jr.
Joseph Ruttenberg
Robert Sable
Charles Salerno, Jr.
David Savitt
James Seeley
John Seitz
Leon Shamroy
Henry Sharp
William A. Sickner
Wm. V. Skall
Edward Snyder
Wm. F. Snyder
Harry Squire
Ralph Staub
William Steiner, Jr.
Mack Stengler
Alan Stensvold
Clifford Stine
Harold Stine
George Stoetzel
William J. Storz
Archie J. Stout
Harry Stradling
Walter Strenge
Karl Struss
Robert L. Surtees
Philip Tannura
Stuart Thompson
Robert Tobey
Leo Tover
Thomas Tutwiler
James V. Van Trees
Paul C. Vogel
Joseph Walker
Gilbert Warrenton
Harold E. Wellman
Albert Wetzel
Lester White
Harry Wild
Wm. N. Williams
Rex Wimpy
Lothrop Worth
Frederick A. Young
Frank C. Zucker
ASSOCIATE MEMBERS
Herbert Aller
Simeon Aller
Mark Armistead
L. J. Baker
Cecil Bardwell
Benj. Berg
Edgar Bergen
John Bishop
Louis A. Bonn
Gifford S. Chamberlain
L. M. Combs
J. L. Courcier
George Crane
Edward P. Curtis
Wm. A. Cushman
Dr. C. R. Daily
John DuVall
William Eglinton
Ferdinand Eich
Ted Fogelman
Fred W. Gage
Mark P. Geirrine
Wm. J. German
George H. Gibson
Henry Goldfarb
Alan Gundlefinger
Charles Handley
Robert Hansard
Ted Hirsch
Wilton R. Holm
Emery Huse
Donald Hyndman
W. F. Kelley
Wilson Leaby
Sidney Lund
Dr. C. E. K. Mees
Lewis L. Mellor
Garland C. Misener
Peter Mole
Hollis Moyse
0. W. Murray
Capt. Don Norwood
Norman F. Oakley
Stacey O’Brien
Val E. Osborne
Emil Oster
Harry E. Pratt
H. W. Remerscheid
Robert Riley
Loren Ryder
Sidney P. Solow
Earl Sponable
John J. Swain
Randall Terraneau
Wm. J. Wade
Jack Webb
Robert Young
INACTIVE MEMBERS
Charles E. Bell
Russell Cully
Faxon Dean
Harry Hallenberger
G. Floyd Jackman
Wm. H. Jansen
Glenn Kershner
Roy Overbaugh
Ernest Palmer
Harry Perry
Paul Perry
Sol Polito
Gordon B. Pollock
George Schneiderman
Douglas Shearer
HONORARY MEMBERS
E. O. Blackburn
A. S. Howell
G. A. Mitchell
422
American Cinematocrapher
July, 1955
are available for connecting camera to
microscope, but all of them are expen¬
sive and most of them beyond the reach
of the amateur. However, a very service¬
able and practical adapter can be made
for any camera and can in turn be de¬
signed to fit any microscope eye optic
for a very small outlay of cash — certain¬
ly not over one dollar.
It is first necessary to determine by
the use of a micrometer the distance
from the front of the lens mount (face
of camera) to the actual film plane,
which, of course, must be done with the
camera shutter open. When this dimen¬
sion has been accurately determined, an
adapter should be made of hollow tubing
or reamed out of brass to this precise
size; the inside should be given a coat of
flat black paint, and the outside diameter
cut to fit the standard microscope eye¬
piece or the one intended for use. The
adapter should then be placed on the
eyepiece of the microscope and a thin
piece of ground glass laid on top. The
object to be photographed should be
carefully focused, the glass and the
adapter removed, and the camera, minus
lens, carefully placed on the microscope.
This will insure accurate focus of the ob¬
ject at the film plane, which is exactly
what is required.
Focusing on the subject naturally re¬
quires some time, and standins for in¬
sects being unknown, your subject will
cook to a crisp if left long under the
glow of photoflood lamps. So, to prevent
this a few precautionary steps must be
taken.
Take two (one if only a single photo¬
flood is used) glass containers, such as
widely used Florence Flasks, and fill
with water. Stir water slowly to remove
any air bubbles. Place the flasks in front
of the lights in such a manner that the
maximum concentrated beam falls di¬
rectly on the egg. The water will, of
course, absorb the heat and the egg will
not dessicate. This same treatment can
be used when photographing other deli¬
cate stages of insect development.
There are many ways of determining
when a caterpillar is going to molt. But
the most reliable method for the camera¬
man to follow is that of observing when
it quits feeding, lies almost motionless
on the bottom of the receptable, and
when touched is slow to respond. That is
the time to get out the 3- or 4-inch tele¬
photo and make preparation to shoot.
Suppose you have a pupae, one of
those nice, brown jug-handle specimens
characteristic of the hornworms; can you
tell when it is nearing the time for the
adult moth to peek out at you? Well,
give it a gentle squeeze and if it shows
active response, get ready with your
camera for these peculiar critters are
only sensitive to touch immediately aft¬
er pupation and again before the moth
emerges. If it feels “watery” to the touch
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American Cinematographer
July, 1955
423
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and wiggles, it is quite probable that
during the night, when you have become
too tired to watch it, a beautiful moth
will appear and most likely sit perched
on your lens unconcernedly pumping its
wings and playfully blowing hubbies
from the tip of its long proboscis.
Remember, when shooting insects in¬
doors under photofloods, you must pro¬
tect them from excessive heat, particu¬
larly during metamorphosis, for when
you see that contraction and constriction
of the dark-colored vein on the back of
the larvae, you are looking at its heart,
which is nothing more than a pulsating
tissue. However spellbound you become
watching the many amazing transforma¬
tions, remember to keep your finger ac¬
tively engaged on the trigger of the cam¬
era.
Interest in insect life has forged ahead
of most other branches of natural his¬
tory. This is no doubt due to the fact
that insects are virtually a part of our
social existence and are not necessarily
inhabitants of the jungle or remote
places of the world. Within the average
backyard flower bed dwells an aggrega¬
tion, any one of which would make a
noteworthy record on film. Every hedge
or shrub has its own particular deni¬
zens, the commonest of which may be
either fearsome, like the mantid, or mar¬
velously beautiful, like the butterflies,
when viewed on the screen.
The words of Raymond L. Ditmars
ring so true: With flowing pen he wrote
these words, “From the time the buds
burst in spring until the winter’s frost,
no matter what part of the country, there
is always the eternal struggle for exist¬
ence going on; the trail of the sluggard,
the effort of the thrifty and the magic
of the conjurer of transformation. And
even with the close of day, darkness ush¬
ers in another phase of life, for the songs
of the nocturnal insects show other le¬
gions have awakened, and the light from
porch or lanai will form a magnet for
the myriad forms that fly only at night.”
This suggests the innumerable possibili¬
ties that prevail in your garden for
shooting an “Oscar” winning film, fea¬
turing any one of a million “stars” that
are to be found among the legion of
marvels living there.
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NEWSFILM TAILORED FOR TELEVISION
( Continued, from Page 409)
Amarillo man was back on the phone re¬
porting the footage he had and what ad¬
ditional footage he might be able to get.
The traffic desk, in the meantime, had
gone to work on shipping problems out
of Amarillo, and had specific instructions
worked out on what air flights to make,
what the film transfer points would
be, and at what time the film would ar¬
rive in New York. Instructions were re¬
layed to Amarillo.
Calls went to Denver and Lincoln with
similar information. The Denver prob¬
lem was somewhat complicated because
the greatest havoc wrought by the storm
in Colorado occurred in the southeastern
part of the state, a considerable distance
from Denver. The Denver correspondent
was instructed to charter a plane, get his
story, and get the film to Denver in time
to catch a non-stop flight for Chicago.
The film was processed, scripted, nar¬
rated and syndicated from Chicago.
Coverage on this overall story was of
high quality. It was imaginative, crea¬
tive, colorful, pictorial and faithful to
the facts. This is the aim of all Newsfilm
coverage.
Jean M. F. Dubois of Denver is a typi¬
cal Newsfilm camera correspondent. In
addition to the dust storm story, he has
covered scores of other features for the
news film service, notably the Sun
Eclipse Expedition, and the summer
White House (with reactions of Presi¬
dent Eisenhower’s neighbors). Dubois
was an explorer and lecturer before
switching his interests to films and cam¬
eras. In Hollywood, he acted in several
Von Stroheim pictures before starting
out on his own as a newsreel cameraman
on a free lance basis. In 1946, he was
one of three cameramen (Roy Edwards
and Charles Herbert, A.S.C., were the
others) who filmed the Universal short:
“Flight of the Wild Stallions” in the
Red Desert of Wyoming. The film was
nominated for an Academy award. In
1951, he won a citation from the U. S.
Marines for a newsreel depicting the
flying Marines. He is a member of cine¬
matographers local 659, Hollywood, and
a charter member of the Newspaper
Press Photographers Association. His
16mm equipment consists of 3 Filmos, 1
Cine Special, and 1 Auricon 200-Pro.
The lenses vary from to 6 inches and
include Ektars and Taylor-Hobson-
Cookes. His 35mm gear includes 4 Eye-
mos, with Bausch and Lomb and Taylor-
Hobson-Cooke lenses varying from 1 to
10 inches.
In all television Newsfilm, not only is
the visual or pictorial story presented
with the most possible clarity and dra¬
matic impact, but greater use of sound
is employed than in any other medium.
The natural sounds of people and events
are featured wherever possible — if they
add to the feeling of actuality. Television
is ideal for handling this dimension.
One-third of all Newsfilm footage is
424
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shot sound-on-film. Sound is used when¬
ever it adds an understanding to the
story 'being covered. Conversely, sound
is not used just for the sake of employ¬
ing it. Newsfilm avoids set speeches un-
les they have a definite news interest.
One technique developed by Newsfilm
through its camera correspondents is to
have them describe the event being pho¬
tographed ... to have them talk as a
cameraman pans a scene or otherwise
illustrates their observations. This sys¬
tem welds the work of Newsfilm corre¬
spondents and cameramen ... in devel¬
oping an interpretation of significant
news.
With its broad coverage, and its con¬
tinuing efforts to make this coverage bet¬
ter, Newsfilm often has the first film
story on the air. Often, it’s an exclusive
story. From its beginning, Newsfilm has
scored one beat after another.
Newsfilm was the only television serv¬
ice to win two prizes in the 11th Annual
(1954) “Best Picture of the Year” com¬
petition jointly sponsored by the Na¬
tional Press Photographers Association
and the Encyclopaedia Britannica.
But it takes more than awards or the
legacy of CBS News to keep Newsfilm’s
deliveries flowing to its subscribing sta¬
tions, day in and day out. It takes cam¬
era correspondents who can perform ef¬
fectively as reporters, who can dig out
details, sift them for the newsworthy
American Cinematocrapher
July, 1955
425
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facts, and then work these facts into a
single story with a fast, sure hand — and
always against deadlines practically
around the clock.
It takes an editorial staff hired for
efficiency, imagination, skill and judg¬
ment- — and for knowledge of film and
television station operations. This staff
is set up as an entirely separate unit
from the editorial staff which services
network news programs. It features edi¬
tor-writer teams, with film editors and
writers working side-by-side.
When one of these teams is assigned
the footage of a Newsfilm story, along
with every scrap of related data News-
film correspondents and all major news
services can provide, it works with the
precise and perfectly synchronized move¬
ment of a fine watch.
Frame by frame, an editor-writer
team accepts or rejects pictures, repairs
them as necessary and integrates them
into a single sequence to tell a story as
clearly and dramatically as possible.
Often the team supplements incoming
film with footage on background mate¬
rial to give viewers the complete news
picture. Whether fifteen feet or several
hundred are needed, they are within
quick and easy reach — among more than
4,000,000 feet which are cross-indexed
in thousands of categories in Newsfilm’s
library.
Airplane, for example, carries 28 sub¬
titles, many of which have in turn more
than a score of references of their own.
This invaluable library adds another
dimension to Newsfilm stories every day
— gives them the interest and illumina¬
tion that very often expands a relatively,
unimportant item into a headline story.
Finally, an editor-writer team must
mesh pictures with words. The writer
prepares commentary in carefully timed
and cued scripts for reading by a sta¬
tion’s own local news personality. Scripts
can be localized — or adapted for late de¬
velopments from news wires — up to the
last-minute before airtime.
When the teams have produced their
finished stories — when they are wrapped
up and ready to go — Newsfilm’s daily
footage has been reduced from some
5,000 feet to less than 500. Screening
time has been cut from more than two
hours to a compast, fast-paced 12 min¬
utes.
Why 12 minutes? In planning its serv¬
ice, Newsfilm went to television stations
and asked them what they wanted in a
syndicated news service. The first speci¬
fication was more quality and more but
shorter stories — ideally, the 12 most im¬
portant minutes of the day.
And the stations listed a second speci¬
fication: no warmed-over network news
programs. We want coverage, the sta¬
tions said, that fits our own set of needs
. . . that is adaptable to a great number
and variety of programs . . . and that
includes material of interest to all seg¬
ments of our audience. It was to these
specifications that Newsfilm was fash¬
ioned.
ARTISTIC HONESTY
( Continued from Page 403)
“It is unlikely that a cinematographer
would be able to correctly visualize the
arrangement and lighting of a room in
a mansion if all of his life had been spent
in hotels or rooming houses. It would be
like a blind man trying to describe an
object he had never seen. To draw, per¬
haps, a better comparison, how close
could a person whose only experience of
home life had been in the squalor of
slums come to portraying convincingly a
scene laid in the home of a cultured mil¬
lionaire?
“This I believe, is a factor that is too
often overlooked in all phases of motion
picture production. Our aim, when pro¬
ducing a picture, is to present a story in
scenes which give it at least an illusion
of actuality. This illusion can only be
attained when every phase of production
— writing, acting, direction, settings, and
cinematography — strikes a keynote of
sincerity based on experience. In other
words, when all of the artists concerned
are artistically honest — with themselves
and with their work.”
Folsey believes, as do nearly all direc¬
tors of photography in Hollywood, that a
vitally important and often neglected fac¬
tor necessary to bringing about honesty
and authenticity in cinematography is
more closely coordinated pre-production
preparation in which the director of pho¬
tography participates. More and more,
production experience is proving that the
picture benefits immeasurably where the
director of photography is allowed ample
time for thorough preparation — a chance
to study the entire script, to consult with
the director and the art director, and to
discuss makeup problems as they relate
to the photography of the picture.
When time and circumstances permit,
it is advisable to allow the cameraman
time to make a few photoghaphic tests of
the star and sometimes of the key sets,
both interiors and location.
During actual production the director
of photography with a penchant for strict
authenticity will make it a point to pay
as much attention to the treatment of the
set itself as to that of the players. Essen¬
tially, of course, the set is primarily a
backdrop against which the players en¬
act the story; but it should nevertheless
be a wholly convincing background.
Therefore it should be treated with equal
care. Actually, the set serves two pur¬
poses: it must be a convincing, believ¬
able background for the action, and it
426
American Cinematographer
July, 1955
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must form a vital part of the composi¬
tion. Thus, it should be lit not only with
an eye to enhancing the effect of actual¬
ity, but to enhance the pictorial value.
Needless to say, the extent to which a
cinematographer on a feature produc¬
tion can carry out his ideas depends
greatly upon the director with whom he
works. Some directors become engrossed
in the action and dialogue, and more or
less accept the cinematographer as a
matter of course. Others, while not di¬
rectly interested in the purely pictorial
phases of the production, nevertheless
realize that the camerawork is important,
and work closely with the cinematog¬
rapher for the mechanical perfection
such cooperation makes possible.
The advent of wide-screen processes
has had the effect today of directing a
great deal more of the producer’s and
director’s attention toward the cinema¬
tographer and the photography than
ever before, because all these new pro¬
cesses begin with the photography, are
based on revolutionary camera tech¬
niques. The cinematographer now com¬
mands greater respect on the set and in¬
deed in the planning of the better fea¬
ture productions today. More than ever
before, he now has opportunity to imbue
his lighting and camera work with the
artistic honesty that makes the photog¬
raphy a genuine contribution to the pro¬
duction. end
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July, 1955
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ORIGIN OF HANDBOOK
(Continued from Page 400)
set in type. In addition, the Handbook
contains brief articles or descriptions of
latest cameras, cinematographic pro¬
cesses, films, etc. As new techniques
have been developed in the industry,
data pertinent to cinematography has
been organized and added to the hand¬
book in subsequent printings. Some idea
of the diligence in which the book has
been improved and kept up to date may
be seen from the fact that the original
Handbook contained 20 pages. The lat¬
est edition is a fat 350 pages.
Its contents are of value to profession¬
al and amateur cinematographers alike.
In addition to the data sheets which are
reproduced here, the book contains
pages dealing with such vital informa¬
tion as motion picture camera descrip¬
tions, filter factors and filter descrip¬
tions, lens size conversion tables, depth
of field charts for most of the lenses
used today, angle of view of various
lenses, hyperfocal charts, process back¬
ground projection charts, camera speed
conversion charts, shutter compensator
chart, diaphragm compensator charts,
exposure guide for various shutter open¬
ings at various camera speeds, frame
and footage totalizer tables, ultra-speed
chart, camera set-up charts that show
what lens to use for a given set-up . . .
and many, many others too numerous
to mention here.
In addition to these data pages, the
new 8th edition contains brief articles
dealing with such subjects as Color
Temperature, the Kelvin Scale. Color
Temperature Control, Ansco Color Film.
Technicolor, Commercial Kodachrome
Film, Magnetic Sound Recording, Infra¬
red Photography, Zoom Lenses, “T”
Stops, The Care of Lenses. Rear Pro¬
jection Process, Care and Handling of
Film in the Tropics and the Artie. Un¬
derwater Cinematography, Intensifica¬
tion. Makeup, Set Lighting Equipment,
Kinescope Recording, and Cinerama.
The expansion of motion picture pro¬
duction in various foreign countries has
brought about the need for foreign ver¬
sions of the American Cinematoe;raDher
Handbook. Rose recently comnleted ar¬
rangements with a firm in Barcelona,
Spain — Ediciones Omega, S.A. — to
translate and publish the book in Span¬
ish. Negotiations are presently underway
for publication of translations in other
languages.
One of the most memorable incidents
in connection with the Handbook per¬
haps is the discovery, a few years ago,
of an unauthorized Japanese version of
the book. During the recent war with
Japan, an American army officer search¬
ing dead Japanese soldiers for indenti-
fication, rolled over one corpse and saw
protruding from his breast pocket a
small, thick, green-covered book. This
was taken to headquarters along with
other personal effects. Later, translators
told the officer the book contained data
concerning motion picture photography.
In the natural course of events the book
found its way to the Army’s motion pic¬
ture section where comparison showed it
was a translation in Japanese of the
American Cinematographer Handbook.
Sometime later the officer visited 20th
Century-Fox’s veteran director of photo¬
graphy Arthur C. Miller — now retired
and presently the President of the Amer¬
ican Society of Cinematographers — and
gave him the book as a souvenir. Miller
ultimately turned it over to Mr. Rose,
who has placed it among his collection
of eight original editions of the Hand¬
book.
While it contains all the essential data
sheets, tables and brief reports of the pre¬
ceding editions, each new edition of the
Handbook, features a dozen or more
new pages giving data on new processes,
procedures, and motion picture films
that have been developed and put into
general use since the first printing of
the previous edition.
The latest 1955 printing of the Hand¬
book has been completed and is in
course of distribution. During the war,
the Armed Services became the largest
single purchaser of the book — a fact
that has greatly stimulated use of the
book in foreign countries. Just as bro¬
ther cameramen displayed enthusiasm
when Jack Rose showed his first crude
notebook containing pages of hand¬
written facts and figures, foreign cam¬
eramen evinced no less interest when¬
ever they encountered an American
photographic corpsman with a copy of
the Handbook. Rose is still receiving
orders from foreign lands directly
traceable to these war-time discoveries.
VIEWFINDER
( Continued from Page 415)
Bolex, comprises an elongated U-shaped
bracket 27, which holds the finder to
the camera. It is so designed that the
camera door may be removed without
need for first removing the viewfinder.
A manually rotatable shaft 36 is jour¬
naled through the bracket ends; a
knurled knob 37 is secured at the end
extending toward back of camera. The
finder tube is connected to the mounting
block in such a manner that it will
swivel laterally toward or away from
side of the camera. There is a scale plate
and pointer at the rear of the tube
which indicates where to set the tube
mounting block for camera lenses of
different focal lengths.
428
American Cinematographer
July, 1955
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The camera lenses 14, 15 and 16 are
fitted with concentric gears 56, 57, and
58 respectively, for rotating them to ad¬
just the focus. The front end of the
shaft 36 is provided with gears 59. 60.
and 61 which mesh with the aforemen¬
tioned lens gears, whenever one of them
is rotated to taking position. The gears
59, 60, and 61 have different numbers
of gear teeth, corresponding to the vari¬
ations in the focusing adjustments of
the gear assemblies 14, 15, and 16.
A spiral-shaped cam gear 62 is mount¬
ed on the viewfinder lens assembly tube
54, and a gear 63 is mounted on the
shaft 36 and meshes with the cam gear
62. As the finder lens assembly is of
indeterminate focal length, and the gears
62 and 63 have relative numbers of gear
teeth, the viewfinding lens is accurately
focused in coordination with any one
of the camera lenses upon rotation of
the lens focusing shaft 36.
An elongated tension spring 64 is
connected to the upper and lower edges
of the finder bracket and resiliently
pulls the forward end of the viewfinder
and the corresponding end of shaft 36
toward the bight of the bracket, and
thus maintains the gear 63 in mesh with
gear 62.
When the cam gear 62 is rotated to
adjust the focusing of the viewfinder
lens and the camera lens simultaneously,
the finder lens will be moved either to-
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American Cinematographer
July, 1955
429
For Time-Lapse
Photography
Compact electronic timer for ac¬
curate interval exposures. Battery
operated. (Models also for A.C.
or strobe lite operation.) Actuates
camera shutter at intervals of
1 -sec. to 1 -min.
Single-frame pull-down attach¬
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and Bolex H-16 cameras.
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Electronic Timer . $98.00
Pull-Down Attachment . 48.00
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ward or away from the camera lens, de¬
pending upon direction of rotation of
the shaft. The arrangement is such that
when the focus of the camera lens is
shortened, the finder lens will move to¬
ward the camera lens, and the axis of
the finder lens will then be disposed at
a slight angle to the axis of the camera
lens and will intersect the axis of the
picture lens at the focal plane of the
latter. As the distance of the camera
lens is increased, the finder lens will be
moved away from the camera lens pro¬
portionately and will be maintained sub¬
stantially in the focal plane of the pic¬
ture lens. The finder thus always views
exactly the same subject matter that the
camera lens views and the axes of the
two lenses do not become substantially
parallel unless the picture is focused at
infiinity.
The spring 64 permits freedom of
movement of the front end of the tele¬
scopic viewfinder away from the camera,
so that the lens turret 12 can be rotated
to bring any one of the lenses into op¬
erative position without interference by
the finder attachment. The adjustable
mounting block 39 provides the proper
compensation of the angularity between
the axis of the finder lens and that of
the camera lens for picture lenses of
different focal lengths.
SHOOTING SCRIPT
(Continued, from. Page 416)
As usual, the first shot to come to my
mind is a long shot, but this time it
isn’t one to open the film. As I thought
of Junior’s situation, I “saw” a final,
rather Chaplinesque, shot of him trudg¬
ing dejectedly away from the camera,
his hands deep in his pockets. Besides
being pictorially agreeable, this shot
should give the sequence an appropriate,
slightly melancholy, conclusion.
The opening scene seems obvious al¬
most at once — another long shot of
Junior in the field throwing the ball as
high as he can and trying to catch it.
A few unrelated but effective shots also
suggest themselves. The ball dropping
from a height towards the camera is a
fairly obvious one; a closeup of the
boy catching the ball is another. And
the long grass offers scope for a shot
of the boy ducking out of sight to
search for the ball and reappearing in
a totally unexpected position.
All these shots, then, are roughly
sketched. Now comes the deliberate
visualizing of the whole sequence in
its correct order, incorporating these
scenes. At this stage it is quite sufficient
to scribble a thumbnail sketch of each
scene with an arrow or a word or two
to indicate the action.
The opening shot has already been
noted. Junior throws the ball and
catches it, throws it again (cut to C.U.
of his face as he watches the ball rise)
and misses it, (continuation of original
L.S.). He picks it up (M.S.), takes
a firm grip (C.U.), brings back his
arm and flings the ball up again with
all his force (M.S.). This time we see
the ball rise (L.S.) and watch Junior
run forward and stumble (L.S.), and
finally fall flat (M.S.). The ball misses
him by inches (C.U.).
He gets up and throws again (M.S.).
The ball descends straight towards the
camera (L.S.), and Junior catches it
successfully (C.U.). He kicks it (M.S.)
and gazes after it blankly (C.U.). He
runs toward the spot where he lost sight
of the ball (L.S.), and begins parting
the tall grass around him (C.U.). He
stoops and disappears in the grass, and
after a brief pause reappears in a dif¬
ferent spot (L.S.). His feet kick at the
grass (C.U.), and his face registers im¬
patience (C.U.). He gazes around again
at the sea of tall waving grass (L.S.),
but his expression shows that he still
cannot see the ball (C.U.). He turns
and begins to walk away, kicking at
the grass as he goes (M.S.). Completely
dejected, he disappears into the distance
(L.S.).
By now there are twenty-four sketches,
which means that the sequence will run
about two minutes or so. (I find my
own average shot length in silent pro¬
duction is just over five seconds). The
major part of the work is over. The rest
is a matter of detail.
My method of preparing the shooting
script from the sketches is quite straight¬
forward. I rule the pages of a note¬
book into columns for shot numbers,
decriptions of action, camera distances
(B.C.U., M.S., etc.), camera movements,
effects (fades, dissolves, etc.), con¬
tinuity notes, and editing notes (in¬
cluding approximate running time). All
these, together with a more detailed
sketch, are entered for each shot. I
leave sufficient space to fill in exposure
and location notes during shooting. The
only other requirement is a list of the
shot numbers in the most convenient
shooting order.
A script containing as much informa¬
tion as this proves invaluable through¬
out every stage of filming and editing.
Providing it is always treated as a de¬
tailed guide rather than a complete blue¬
print. it is as flexible as any cuff, and
far more useful.
Moreover, this preparatory work is
the most creative and thus the most ex¬
citing part of film making. The actual
shooting sometimes seems a mere chore
by comparison, for the final film al¬
ready seems as real to the producer
as if it were completed. end
430
American Cinematographer
July, 1955
AFTER LAST SHOT IS MADE
( Continued from Page 399)
is the sound effects editing this depart¬
ment also handles. Effects editing starts
with a series of notes taken when the
dupe is run by Rossi and the director
and producer. Each of the effects edi¬
tors is then given one or two reels for
which he will build the effects tracks
based on notes made during the screen¬
ing. The tracks are cut and new effects
cut and fitted and synced. As many as
sixteen separate tracks may be built for
a single reel. The effects that are neces¬
sary are usually available to the editors
in the studio’s sound library where mil¬
lions of feet of track is stored in thou¬
sands of categories. However, if the
particular effect an editor may require
is not in the library, then Rossi and his
crew have to create it.
As an example of the lengths to which
they go for realism in sound effects, to
get the right sounds for the auto racing
action in “The Racers” Rossi took a
crew to a local sports car race where
they recorded the cars roaring past.
They even strapped a portable tape re¬
corder to he seat of one of the cars
where it picked up all of the sounds that
were typical to the interior of a race
car as it sped around the track.
While all this has been going on the
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American Cinematographer
July, 1955
431
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BURKE & JAMES. INC. 321 So. Wabash, Chicago 4.
editorial department has been hard at it
on technical work. Laps, fades and
other optical effects are created by
Jimmy Gordon’s optical printing de¬
partment. Main titles are added and,
when necessary, inserts by Bernie
Cooper; and the Kellogg Department
has the while been adding its strange
and wonderful processes wherever
needed.
As each of the post-production depart¬
ments finishes its work, it is sent to the
re-recording department. There, under
the careful hand of Warren Delaplain,
what is sort of a “grand finale” of post¬
production effort take place. The dozens
of tracks that have been created for each
reel — a skillfully integrated melange
of dubbing, sound effects and music —
are gathered here. The totals for any
given reel may run as high as 32 sepa¬
rate tracks. To combine that many
tracks for one reel is not only unwieldly
but is more than can be recorded at
one time. Therefore, the collection of
tracks are reduced to what the depart¬
ment calls “combines” or “generations.”
Usually, these combine the “knowns” or
constant elements that are not likely to
be changed. This done, the tracks are
ready to be re-recorded. This re-record¬
ing step is one of the most impressive
and wonderful processes we have ever
seen. On the huge platform in Stage 2,
the mixers sit at their panels alongside
the picture’s editor, the director, pro-
Byron Installing Color Film Processor
Byron, Inc., 16mm motion picture
studios and laboratory have scored
another “first” in the United States by
installing the famed precision “Arri”
color developing process in its Wash¬
ington, D.C., plant. Installation is ex¬
pected to take several weeks, with com¬
plete operation beginning in early fall.
With the “Arri” machine, produced
by Arnold-Richter of Munich, Germany,
two steps will be eliminated in 16mm
color film processing, making it unneces¬
sary to run each print through the
printer three times. The German process,
Daylight wet section after basic assembly.
exclusive with Byron in this country,
produces an intermediate dupe negative
with all “A” and “B” effects. The dupli¬
cate negative is run through the printer
just once to produce a quality release
color print.
According to Byron, the “Arri” pro¬
cess means sharply reduced costs for
raw stock, printing and processing, re¬
sulting in quality color prints at close
to standard black-and-white print prices.
The Byron organization made an ex¬
haustive 5-year study of equipment of
this type from manufacturers all over
the world before selecting the “Arri”
machine. This particular Arnold-Richter
equipment, according to Byron, is spe¬
cially designed to fit their requirements.
“It is the perfect answer to our quest
for a system of controlling color from
the duplicate stage to the finished print
stage,” a company spokesman said.
The German firm sent its president.
Dr. Robert Richter, and two of its top
engineers to Washington to consult on
assembly of the machine. German lab¬
oratories have been using the positive¬
negative process for some 20 years, and
the machine at Byron, Inc. is the collec¬
tive result of those long years of re¬
search and experience.
Installation of the equipment is a
painstaking process in itself. In addition
to the machine, an acid-resisting floor,
special heaters for hot water, a chilling
plant, air conditioning controls, mixing
equipment, and chemical analysis equip¬
ment are being installed. Byron expects
to offer this new service to the film in¬
dustry by early fall.
Mounts for drive placed in concrete base and
imbedded, in Byron, Inc’s., Washington, D.C.,
laboratory.
432
American Cinematographer
July, 1955
ducer, music director and the sound
effects and music editors. It is in this
process that everything audible is fin¬
ished. Dramatic reality is given life,
balance between dialogue and music is
established and even voice quality is
changed when deemed necessary in
order to be more pleasant, or better
suited to a particular characterization.
The amount of complex equipment
that goes into this process is staggering.
Great batteries of re-recording machines
and recorders roll in a room adjacent
to the stage. On the huge console panel
the sound mixers use a myriad of con¬
trols, from a wonderful device called a
graphic equalizer that makes balance
easily visible as well as audible, to the
three controls that follow the stereo¬
phonic voices, and the controls for the
fourth or surround track. No detail is
overlooked or passed over; perfection
is the only standard these men will settle
for.
The final recordings are made on the
three stereophonic tracks and then the
whole is run again and it is decided
what is to go on the fourth track. This
done, the final four-track recordings are
made.
When both the picture and the four-
track sound are finished, the next thing
that is done is to manufacture a “pro¬
tection master” (the negative has been
cut to match the positive and protective
master made by the optical department).
This is kept at the studio and the pic¬
ture negative sent to Deluxe Lab in New
York where an answer print is made
and immediately shipped to the studio.
Here it is striped for magnetic sound
by Henry Goldfarb and his crew at the
studio’s Western Avenue Lab and sound
printed. This finished print is run for
Mr. Zanuck, the producer and the direc¬
tor. Their final OK sets the New York
Lab in motion making release prints,
and within two weeks the picture is in
the theatres.
‘NOT AS A STRANGER’
( Continued from Page 397 )
matographer Planer elected to shoot the
entire sequence in one long take, mov¬
ing the camera almost constantly to
achieve a variety of angles. The sequence
begins with an establishing full shot of
the operating room ; then the camera
moves rapidly in for a close-up of a
hand preparing a hypodermic, pulls back
again to a medium shot and pans with
a nurse as she moves away, pushes in
again to an extreme closeup of an oscil¬
lograph registering the heartbeat, etc.
This highly mobile camera treatment
was made possible through the use of
a small, highly maneuverable camera
platform known as a “crab dolly” be¬
cause of the fact that its wheels are cap¬
able of making sharp turns in any direc¬
tion.
Preparation for shooting this intri¬
cate sequence was painstaking indeed.
The camera crew observed many opera¬
tions in advance and Planer charted the
many camera moves to coincide with
the highly specialized action. Mean¬
while, Olivia de Havilland and Robert
Mitchum, stars of the film, were busily
observing several major operations at
Cedars of Lebanon Hospital in order to
perfect the technique of the doctor and
nurse whom they portray in the film.
Since the sequence includes a striking
closeup of an exposed beating human
heart, it was necessary to postpone
shooting until a patient could be found
who needed such an operation and who
would sign the necessary legal clear¬
ances.
Since it was impossible to disturb
normal hospital routine during hours
when the operating room was needed for
surgery, rehearsals for this sequence
were held at night with a crack surgical
team going through the motions and the
studio crew co-ordinating camera move¬
ments with the action of the surgical
personnel. Except for the leading play¬
ers, the “actors” in this sequence are
actual doctors, nurses and anesthetists
from local hospitals. A staff of technical
advisors stood by at all times to insure
the authenticity of every detail.
Frank Planer describes the tension
attendant to the filming of this sequence:
“None of the crew had had any ‘basic
training' in the filming of such subject
matter. Also, we were keenly aware of
the fact that a human life was involved
on that operating table, that there could
be no retakes and that we had to get
everything right the first time. Our
equipment had to be sterilized and the
crew had to dress in surgical gowns and
masks.”
On the screen the sequence results in
what might almost be called a modern
ballet of camera and action as the white-
robed figures move quietly and surely
through their practiced paces. The cam¬
era is an integral part of the total pat¬
tern — never obtrusive, always where it
should be on the split second to point
up details of the action. The smooth
blending of these elements builds to a
climax of powerful dramatic force.
Other sequences in the film also re¬
flect a carefully slanted photographic
approach. The lighting is richly graphic,
leaning toward low-key to enhance the
dramatic mood. Characters are allowed
to walk into shadow or silhouette at
times and no concessions are made to¬
ward glamour — although it must be
said that Miss de Havilland looks almost
too pretty to be completely convincing
(Continued on Page 435)
8 and 16mm
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American Cinematographer
July, 1955
433
WARNER BROTHERS
HOLLYWOOD STUDIO PRODUCTION
Feature and television film productions for which members of the American Society of
Cinematographers were engaged as Directors of Photography during the past month.
AMERICAN SOCIETY
OF CINEMATOGRAPHERS
FOUNDED January 8, 1919, The Ameri¬
can Society of Cinematographers is com¬
posed of the leading directors of photog¬
raphy in the Hollywood motion picture
studios. Its membership also includes non¬
resident cinematographers and cinematog¬
raphers in foreign lands. Membership is
by invitation only.
•
Arthur Miller, President
Sol Halprin, First Vice-President
William Skall, Second Vice-President
Alfred Gilks, Third Vice-President
Walter Strence, Treasurer
Charles G. Clarke, Secretary
Robert de Grasse, Sergeant-At-Arms
BOARD OF GOVERNORS
Joseph Biroc
George Folsey
Burnett Guffey
Winton Hoch
Hal Mohr
Ray Rannahan
Leon Shamroy
Philip Tannura
ALTERNATE BOARD MEMBERS
Ellis Carter
Paul Eagler
Farcion Edouart
Irving Glassberg
Milton Krasner
Ernest Laszlo
Robert Pittack
John Seitz
James Van Trees
Paul Vogel
ALLIED ARTISTS
• Harry Neumann, “Operation Uranium,”
with Leo Gorcey, Huntz Hall, Mary Beth
Hughes. Edward Bernds, director.
• Ellsworth Fredericks, “Bobby Ware Is
Missing,” with Neville Brand, Arthur Franz.
Thomas Carr, director.
COLUMBIA
• James Wong Howe, “Picnic,” (Techni¬
color, CinemaScope) with William Holden,
Rosalind Russell, Kim Novak. Josh Logan,
director.
• Henry Freulich, “Inside Detroit,” with
Pat O’Brien, Dennis O’Keefe, Mark Damon.
Fred F. Sears, director.
METRO-GOLDWYN-MAYER
• Joseph Ruttenberg, “Kismet,”, (Eastman
Color, CinemaScope), with Howard Keel, Ann
434 • American Cinematographer
Blythe, Dolores Gray, Vincente Minnelli, di¬
rector.
• Robert Surtees, “Tribute to a Bad Man,”
(Eastman Color, CinamaScope) with Spencer
Tracy, Irene Papas, Robert Francis, Step¬
hen McNally. Robert Wise, director.
• Harold Lipstein, “Forever, Darling,”
(Eastman Color, Wide-screen) with Lucille
Ball, Desi Arnaz, James Mason, Louis Cal-
hern. Alexander Hall, director.
• Arthur Arling, “I’ll Cry Tomorrow,”
( W ide-screen ) with Susan Hayward, Richard
Conte, Eddie Albert. Daniel Mann, director.
• Paul Vogel, “The Tender Trap,” (East¬
man Color, CinemaScope) with Frank Sinatra,
Debbie Reynolds, David Wayne, Celeste Holm.
Charles Walters, director.
PARAMOUNT
• Loyal Griggs, Wallace Kelley, Peverell
Marley, “The Ten Commandments,” (Vista-
Vision, Technicolor), with Charlton Heston,
Anne Baxter, Yul Brynner, et al. Cecil B. De
Mille, director.
• Lionel Lindon, “Too Late, My Love,”
(VistaVision) with Carol Ohmart, Tom Tryon,
Jody Lawrence. Michael Curtiz, director.
• Robert Burks, “The Man Who Knew Too
Much,” (VistaVision, Technicolor), with
James Stewart, Doris Day. Alfred Hitch¬
cock, director.
R.K.O. -RADIO
• Ray Rennahan, “Texas Lady,” (Tech¬
nicolor, Superscope), with Claudette Colbert,
Barry Sullivan. Tim Whelan, director.
TWENTIETH CENTURY-FOX
• Leo Tover, “The Tall Man,” (Cinema¬
Scope, Color) with Clark Gable, Jane Rus¬
sell, Robert Ryan, Cameron Mitchell, Raoul
Walsh, director.
• Milton Krasner, “The Girl In The Red
Velvet Swing,” (CinemaScope, Color) with
Ray Milland, Joan Collins, Farley Granger,
Richard Fleischer, director.
• Joseph MacDoNALD, “The View From Pom-
pey’s Head,” (CinemaScope, Color), with
Richard Egan, Dana Wynter, Cameron Mit¬
chell. Philip Dunne, director.
UNIVERSAL-INTERNATIONAL
• William Daniels, Tom Tutwiler, “Away
All Boats,” (Technicolor, VistaVision) with
Jeff Chandler, George Nader, Julie Adams.
Joseph Pevney, director.
• Maury Gertsman, “World In My Corner,”
with Audie Murphy, Barbara Rush, Jeff Mor¬
row. Jesse Hibbs, director.
• George Robinson, “Tarantula,” with John
Agar, Mara Corday, Leo G. Carroll, Nester
Paiva. Jack Arnold, director.
• Ellis Carter, “The Girl In The Cage,”
with William Campbell, Kathleen Case, Keen¬
an Wynne, Mamie Van Doren. Abner Biber-
man, director.
• Irving Glassberg, “Backlash,” (Techni¬
color) with Richard Widmark, Donna Reed.
Rudy Mate, director.
• George Robinson, “The Square Jungle,”
with Tony Curtis, Pat Crowley, Ernest Bor-
goine, Paul Kelly. Jerry Hopper, director.
July, 1955
• Russell Metty, “Miracle In The Rain,”
with Jane Wyman, Van Johnson, Paul Picerni,
Barbara Nichols. Rudy Mate, director.
• William Mellor, “Giant,” (Warnercolor)
with Elizabeth Taylor, Rock Hudson, James
Dean, Jane Withers. George Stevens, director.
• Sam Leavitt, “The Court-Martial of Billy
Mitchell,” (Warnercolor, CinemaScope), with
Gary Cooper, Ralph Bellamy, Fred Clark,
Herbert Heyes. Otto Preminger, director.
INDEPENDENT
• Harry Stradling, “Guys and Dolls,” Sam¬
uel Goldwyn Prodn., (Technicolor, Cinema¬
Scope) with Marlon Brando, Jean Simmons,
Frank Sinatra, Vivian Blaine, et al. Jos L.
Mankiewicz, director.
• Sam Leavitt, “Battle Hell,” Chester Pro-
dns., (Superscope) with Wendell Corey, Mic¬
key Rooney, Don Taylor, Dianna Darrin.
Lewis R. Foster, director.
• Wilfrid Cline, “The Indian Fighter,”
Bryna Prod., (Color, CinemaScope) with Kirk
Douglas, Walter Abel, Diana Douglas. Andre
de Toth, director.
• Ernest Laszlo, “News is Made at Night,”
Friedlob Prod., with Dana Andrews, Ida Lup-
ino, Rhonda Fleming, George Sanders, Tho¬
mas Mitchell, Howard Duff. Fritz Lang, di¬
rector.
• Lucien Ballard, “A Kiss Before Dying,”
Crown Prod., (Eastman Color, CinemaScope),
with Robert Wagner, Jeff Hunter, Virginia
Leith. Gerd Oswald, director.
• Lester White, “Top Gun,” Fame Pics.,
with Sterling Hayden, Karen Booth, William
Bishop. Ray Nazarro, director.
• Winton Hoch, Al Gilks, “The Searchers,”
C. V. Whitney Pics., (Color, VistaVision),
with John Wayne, Jeff Hunter, Vera Miles,
Ward Bond. John Ford, director.
• Floyd Crosby, “Apache Woman,” Golden
State Prods., (Eastman Color, Superscope),
with Lloyd Bridges, Joan Taylor, Lance Ful¬
ler. Roger Corman, director.
TELEVISION
(The following directors of photography
were active last month in photographing films
for television in Hollywood, or were on con¬
tract to direct the photography of television
films for the producers named.)
KENNETH PEACH, “Dr. Hudson’s Secret
Journal,” “Steve Donovan, Western Marshall.
FRED GATELY, “Cavalcade of America.”
ROBERT de GRASSE, “Those Whiting
Girls.”
MACK STENGLER, “Ina Ray Hutton Show,”
“It’s Fun To Reduce.’
HARRY WILD, “Bob Cummings Show.’
GEORGE E. CLEMENS, “Schlitz Playhouse
of Stars.”
HENRY SHARP, “Sheena, Queen of the
Jungle.”
ED FITZGERALD, “You Are There.”
LATHROP WORTH, “The Great Gilder-
sleeve.”
JACK MacKENZIE, “Passport to Danger.”
LUCIEN ANDRIOT, “The Life of Riley.”
JOE LaSHELLE, “My Friend Flicka.”
KENNETH PEACH, “Gangbusters.”
WALTER STRENGE, “This is the Life.”
GILBERT WARRENTON, “Sergeant Preston
of the Yukon.”
CARL GUTHRIE, Warner Brothers’ TV
series.
‘NOT AS A STRANGER’
( Continued from, Page 433)
in the role of a dowdy nurse.
Time transitions are covered by sev¬
eral cut montages photographed and
edited with sharp impact. One of these
includes an eye examination in which a
small pen light is used as the main
source. The medium shot was photo¬
graphed on Plus X, but the screen-filling
close-up of the eye had to be shot on
Tri-X so that the long lens racked out
with an extension tube could be stopped
to f/5.6 to insure sufficient depth of field
to hold both the front and rear of the
eye in sharp focus.
One montage includes an interesting
scene, supposedly shot through a flouro-
scope to show how an open safety pin is
removed from a lung with a special
instrument. While this is a trick shot
using an X-Ray plate, Planer says it
would have been possible to shoot such
a scene with the flouroscope. However,
it obviously would have created too great
a risk for the “patient.”
The night street scenes in the film,
shot on the Universal-International back
lot, were photographed in Tri-X Pan
with the result that only 25% of the
usual amount of light was required.
Planer used no low angles in the film
but occasionally adopted high angles to
psychlogically emphasize the humble
dedication of the main character to the
science of medicine.
“Not As A Stranger” was photo¬
graphed in black-and-white rather than
in color mainly because the producer-
director felt that it would have more
dramatic force in monochrome than in
one of the richly tinted color processes.
It was also feared that some of the
surgical sequences might have been too
much for the audience to take if shown
in color.
Regarding his overall approach to
filming “Not As A Stranger,” Planer
observes: “We wished to depart from
the polished gloss of studio photography,
but on the other hand we did not want
to settle for the stark documentary qual¬
ity of the newsreel. You might say that
we were trying to get as natural a result
as possible while still maintaining the
quality the subject demanded. It was
inspiring to work with Stanley Kramer,
who made his debut as a director on this
film. He is a man who likes to explore
new roads. He is always ready to try
any approach that is original or differ¬
ent. He is after quality and cost is no
object.”
Frank Planer is considered one of the
outstanding creative camera artists in
Hollywood. His photography is always
dramatic and carefully tailored to the
subject without calling attention to him¬
self. He has received four Academy
Awards nominations for such films as:
“Champion,” “Cyrano de Bergerac,”
“Death of a Salesman,” and “Roman
Holiday.” He has won three Golden
Globe Awards and the Look Award for
his camera work on “Decision Before
Dawn.” While not nominated for an
award, his striking photography of Walt
Disney’s “Twenty Thousand Leagues
Under the Sea” is considered within the
industry to be one of the most out¬
standing jobs of color cinematography
of the past year. Planer has just com¬
pleted the CinemaScope filming of “The
Left Hand of God” at Twentieth Cen¬
tury-Fox.
MINIATURES
(Continued from Page 413)
to explode in the foreground of a scene
showing a number of full-size tanks
moving up. A model train can be set up
on a miniature railroad trestle juxta¬
posed to look like part of an intricate
full-scale railroad network actually in
existence. It is necessary that the space
and size relationship between the minia¬
ture and full-scale elements be correctly
maintained. Checking such composi¬
tions with a through-the-lens type of
viewfinder will be helpful in setting
everything up in proper perspective.
The creation and photography of ma¬
rine models is a specialty in itself — one
which the Hollywood studio technicians
have mastered, but which presents prob¬
lems for the technician less experienced.
We can pass on some technical tips from
Hollywood with the hope that they may
prove valuable. This is true primarily
because it is difficult to get water to be¬
have realistically on a small scale. It is
practically impossible to create realistic
waves small enough so that they won’t
dwarf the model vessel. Therefore it is
suggested that model ships be construc¬
ted on a scale of 3 inches to 1 foot.
Model ships should be floated in a
good-sized tank with the water any¬
where from 18 inches to 3 feet deep.
Painting the bottom of the tank blue will
add to the illusion if filming is to be
done in color. Waves can be created by
mechanical means or by paddles op¬
erated manually outside camera range.
A small amount of liquid detergent ad¬
ded to the water will help produce a
white cap effect, but too much will pro¬
duce a bubbly foam that is unrealistic.
The tank should be set up against real
sky or a carefully painted backdrop. If
the camera is mounted just slightly
higher than water level the far side
of the tank will appear as a horizon line.
Slight lateral and vertical movement of
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• Speedy drying
• Automatic shrinkage allow¬
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• Stainless steel and
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• 35mm and 16mm
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everyone in movies
ond TV, from script to
screen.
$2.00 Prep°id
(Delivered in U.S.A.)
ASK FOR REPRINT OF ARTICLE
IN AMERICAN CINEMATOGRAPHER.
W rile or ask your dealer
READY-EDDY, Sandy Hook, Conn.
SURPLUS AIR BLOWERS
SUTORBILT 2M STYLE
Impellers 2" wide. 1 "
tube size inlet and out¬
let. Approximately 20 cu.
ft. per minute at 2, 3,
4 or 5 lbs. pressure. ’/4
h.p. required at 2 lbs.
Not $150.00
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Send 25c for our new 24-page catalog of process¬
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METAL MASTERS
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To Sell
THE MOTION PICTURE INDUSTRY
YOU
NEED
AMERICAN
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AMERICAN CINEMATOGRAPHER reaches all
fields of 35mm and 16mm motion picture
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• Television Film Producers
• Industrial Film Makers
• Educational Film Producers
• Amateur Movie Makers
• Film Laboratories
• Foreign Film Producers (67 countries)
Why be satisfied with anything less?
Write For Advertising Rates
American Cinematographer
July, 1955
435
Endorsed . . .
by the
WORLD’S LEADING
CAMERAMEN
Used At All
Hollywood Movie Studios
AMERICAN
CINEMATOGRAPHER
HANDBOOK
for the
PROFESSIONAL and AMATEUR
by
JACKSON J. ROSE, ASC
•
New data on Cinerama - Tele¬
vision photography - Background
Projection - Zoom Lenses - Un¬
derwater Photography - Latensi-
fication - “T” Stops - Ansco
Color - Eastman Color - DuPont
Color - Cameras - Projectors -
Lenses - Filters - Charts - Tables
- Ratings - Diagrams - Systems -
Equalizers - Formulas, Etc.
The Book of a Thousand Answers
to Cinematographic Questions
ORDER YOUR COPY TODAY!
*5 00 POSTPAID
Book Department,
American Cinematographer,
1782 No. Orange Dr.,
Hollywood 28, Calif.
Gentlemen: Enclosed please find $5.00* for
which please send me a copy of
THE AMERICAN CINEMATOGRAPHER HAND-
BOOK AND REFERENCE GUIDE.
Name-
Address _
City . . . Zone . State .
*lf you live in California, please include 18c
sales tax — total $5.18.
the camera during shooting will height¬
en the illusion that the sequence was
actually filmed at sea.
To illustrate a situation more typical
of that which the commercial film pro¬
ducer might be called upon to shoot, let
us select a representative miniature se¬
quence and follow it through from con¬
ception to completion. Let’s suppose that
the situation which we wish to portray
is that of the burning of an oil field
studded with old wooden-type derricks.
The first step is construction of the min¬
iature derricks. Fortunately, there are
several model kits of this item available
on the market. Constructed of balsa
wood and designed as exact miniature
replicas of real oil derricks they range
in size from 12 to 24 inches in height.
A clever model builder can readily as¬
semble the kits.
Greater realism can be achieved
where the miniature oil field can be set
up against a background of real wooden
oil derricks, such as those that exist in
the Signal Hill area of Long Beach,
Calif. The larger model derricks should
be placed in the foreground and the
smaller ones in back to force the per¬
spective. The illusion of distance may be
further enhanced through use of a wide-
angle lens.
A compressed air hose hooked to a
reservoir of oil will produce the effect
of a gusher’ in one of the large fore¬
ground derricks. The “gusher” can then
be ignited by a concealed flame or spark
and the derrick burned. Pools of oil
concealed between the derricks can also
be ignited to give the illusion of the
fire spreading through the field. Minia¬
ture explosions can be touched off as
required and a trough of oil constructed
between the miniature field and the full-
size derricks in the background set
ablaze to produce the illusion that the
entire field is in flames.
It is a good idea to shoot a sequence
such as this with anywhere from 3 to
8 cameras, when available, in order to
get an establishing shot and a variety
of closer angle shots without burning up
all the miniatures on a single take. An
especially striking shot would be one in
which a derrick is mounted on a sheet
of glass with the camera under it angled
up to show the flaming gusher shooting
up through the “timbers” and igniting
them. All such miniature action should
be shot not under 64 frames per second
and preferably at about 92 in order to
make the flames and explosions seem
large and ponderous on the screen.
To tie in shots of live actors fighting
the fire so that these scenes will cut
smoothly into the miniature action, cer¬
tain connecting elements are necessary.
In this case, fire itself can be the main
connecting link. Large trenches dug and
filled with oil then set afire — with the
men spaced between these trenches with
their fire-fighting equipment, appropri¬
ate action can be staged. A further con¬
necting link can be achieved by shoot¬
ing the live action with a blazing mini¬
ature derrick set up in the foreground,
while some large timbers, supposedly
fallen parts of the derrick, are set
ablaze in the background. This action
should be filmed with a wide-angle lens
to insure sharpness both of the minia¬
ture and the background action. A speed
of 24 frames per second is recom¬
mended. In editing, the live scenes
should be intercut with the miniatures
in such a way as to make the fire fight¬
ers appear right in the midst of the
blazing field.
In Hollywood productions about pre¬
historic eras, primeval monsters are
created by adding miniature horns,
ruffs and “armor plate” to lizards,
horned toads and other live reptiles.
These creatures are then photographed
set in miniature landscapes constructed
to represent the terrain and foliage of
the time. Again the action of the ani¬
mals is photographed at accelerated
speed in order to make their movements
in keeping with the huge prehistoric
beasts they are simulating.
Here are a few good general rules to
remember in filming miniatures:
1. Miniatures involving movement
should be shot at accelerated speeds, ar¬
rived at mainly through experiment.
2. Build models as authentic as pos¬
sible and pay careful attention to detail,
as any carelessness in construction is
bound to show up glaringly in close
shots.
3. Soft lighting will usually produce
a more realistic effect than contrasty il¬
lumination.
4. A very light diffusion disc in front
of the lens will soften a miniature just
enough to make it seem large and far¬
ther away.
5. Whenever possible, shoot exterior
miniatures in natural outdoor light, pre¬
ferably against the sky, distant trees or
backgrounds authentic to the scene.
6. Any camera movement used in
filming miniature sequences should be
very slow and as smooth as possible.
7. A realistic illusion depends mainly
upon proper perspective. Analyze each
sequence in terms of where you would
place the camera in relation to the full-
size set, if it were available.
National Theatres, Inc., last month,
introduced a new wide-screen photo¬
graphic process, known as Cine-Miracle,
which makes it possible to blend photo¬
graphically three strips of film so that
they show on the screen as one continu¬
ous wide picture. Result is similar to
Cinerama with the joining lines sup¬
pressed.
436
American Cinematographer
July, 1955
CLASSIFIED ADVERTISING
10c per word, minimum ad $1.00. Words set in capital letters except 1st word and advertiser’s name, 15c per word. Modified display
format 90e per line. No discount on classified advertising. Send copy with remittance to editorial office, 1782 No. Orange Drive, Hollywood
28, Calif. Deadline 15th of month preceding date of issue.
STUDIO & PRODN. EQUIP.
FOR SALE
FOR SALE
A QUARTER MILLION DOLLAR SELECTION
B&H FILMO 70DA CAMERA with 3 lenses and
rackover base. $600 value. Closeout . . $ 149.50
BERNDT-MAURER CAMERA w/finder,- 3 lenses;
4-400' magazines,- sunshade; 12V motor;
syncmotor; varispeed motor with tachom¬
eter; Mitchell tripod. $6,000 value — . 2495.00
TRADE AURICON PRO or CINEVOICE for lat¬
est Auricon 600 — allowances up to . — 1250.00
ART REEVES 35MM OPTICAL SOUND RE¬
CORDER; interlock motor; footage counter;
tachometer; ultra violet glowlamp,- ampli¬
fier; double mixer, $5,000 value. Close
out . 495.00
CINEX EXPOSURE TESTING MACHINES— used
by leading labs. Originally $400.00 —
Rebuilt . . . - . - . . 1995.00
CAMERECLAIR 35mm STUDIO CAMERA; pilot
pins,- focus thru film; shoots single frames;
five f2 lenses— 25/28/35/50/1 00mm; 12-
400' magazines. Ideal for animation and
slidefilms. $3,500 value, LIKE NEW . 995.00
CINEFLEX 35mm REFLEX CAMERA w/6 fast
lenses; 2-400' magazines; 2 motors,- $2500
value . 995.00
EASTMAN AIRGRAPH 16/35mm FILM DE¬
VELOPING MACHINES. Fixes, washes and
dries. Stainless steel tank and drum, drive
motor, heater, blower, $1800 value. Gov’t
Surplus . . . . . - . 295.00
400' MAGAZINE CONVERSION w/counter
for Auricon Cinevoice. New . 495.00
Same with 1200' mag. & motor takeup 695.00
B&H 16mm FILMO SPECIALIST CAMERA
w/rackover,- matte box, Mitchell type Find¬
er; syncmotor; 400' mag.; w/case. $2000
value . . . - . - 995.00
BARDWELL-McALISTER MULTIPLE FLOODLITES,
3 Quadruple heads to hold 12 bulbs on
rolling tripod stand. Orig. Gov’t Cost
$180.00. Surplus . 29.50
BM Quadlite Heads only $4.95. Stands only 19.95
NEW ENCLOSED FILM STORAGE CABINETS,
capacity 20-400' reels, 2 drawers, gray
enamelled, $37.50 value . . — 14.95
Lots of 3— $12.95 Lots of 6 . 9.95
BRIDGAMATIC JR. 16mm FILM DEVELOPER
with bottom drain, spray wash, improved
drybox, rotary air pump, varispeed trans¬
mission, reconditioned. $1900 value . 1225.00
NEW 1500W NEWSREEL FLOODLITES, $100
value. Close out . — 29.50
NEW FRESNEL STUDIO SPOTS, lead wires,
switch, pipe clamp.
2000 Watt _ $59.95 5000 Watt . 99.95
AKELEY 35mm EDITING MACHINE, sound,
picture, preview, $3000 value . . 1295.00
TIME LAPSE INTERVAL Meters for Bolex and
Cine Special, complete . . . . . 146.00
CINE SPECIAL I CAMERA with 2 lenses _ 337.50
TRADES TAKEN Cable: SOSOUND Dept, fc
S.O.S. CINEMA SUPPLY CORPORATION
602 W. 52nd Street, New York 19. Phone PL 7-0440
FOR SALE
WE ALWAYS HAVE BARGAINS
in Professional 35 & 16mm equipment.
CAMERAS — LIGHTS
MAGNETIC and OPTICAL
RECORDERS and PLAYBACKS
MOVIOLAS — DOLLYS — BOOMS
Send for our constantly changing list.
Hundreds of Other Production Items.
Write — Wire — Phone
CINEMA SERVICE CORP.
106 West End Avenue, New York 23, N.Y.
TRafalgar 3-1411
16MM HOUSTON K-1A . . . developing machines.
For reversal or positive film. Complete with
refrigerator units, temperature control, condensors,
evaporators, thermostats, etc. BRAND-NEW, prices
reduced! Write. AIR PHOTO SUPPLY, Dept. C-l,
555 E. Tremont Ave., New York 57, New York.
LIKE NEW
BELL & HOWELL STANDARD 35mm CAMERA,
PRECISION MITCHELL TYPE RACKOVER,
MITCHELL UPRIGHT VIEWFINDER
IN FIRST-CLASS CONDITION.
ART REEVES MOTION PICTURE EQUIPMENT CO.
7512 Santa Monica Blvd.
Phone HO 4-1492
Hollywood 46, Calif.
MOTION PICTURE EQUIPMENT GREATLY REDUCED
Has been in regular use — and has been replaced
by new equipment
BELL & HOWELL SOUND PROJECTOR and
Speaker, Model E, good, $495 value . $ 290.00
DEVRY PROJECTOR, Jan Spec and Speaker,
excellent, $687.50 value . .
DAYLIGHT CHALLENGER SCREEN, 5472-8x10,
ECKO TAPE RECORDER, Model 101-9, like
new, $400.00 value . . . .
MAGNASYN RECORDER, Model SW602, 1200
ft. capacity, excellent, $1295.00 value . 995.00
KINEVOX BULK ERASER, brand new, $80.00
value . 59.50
ALTEC-LANSING DUPLEX 15-INCH SPEAKER
and Base Reflex Cabinet Cross-over Net¬
work, very good. $555.00 value . . 200.00
RCA MIKE Model 44B chrome plated on
heavy stand (This is the mike used in Pres.
Roosevelt's newsreel fireside chats), like
new . 175.00
PORTABLE DUAL TURN TABLE, 3 crystal pick¬
ups, faders, synchronous 78 rpm motors,
good, $250,000 value . 25.00
STUDIO SOUND READER, 16mm optical and
magnetic, excellent, $169.00 value . . 100.00
CAMERA EQUIPMENT PORTABLE DOLLY with
seat, like new, $250.00 value . 195.00
MAURER SINGLE-SYSTEM CAMERA with bi¬
lateral galvo, synchronous and DC motors,
matte box, magazines, amplifier, noise re¬
duction WE mike, portable power supply,
cases for all. Excellent, $10,000.00 value.... 2500.00
BLIMP for above with follow focus and many
features, beautiful, $12000.00 value . . 400.00
AURICON CAMERA, super 1200 with galvo
amplifier and 1" and 2" Cooke lenses and
cases, like new, $5,000.00 value . 3900.00
BLIMP for latest model Maurer camera, beau¬
tiful dural, absolutely silent, complete with
pan head, ike new, $1500.00 value . 750.00
STAGE DOLLY for above, home made,
GERMAN STILL 35mm cameras. Import your own.
Save importers and retailers profits. (About 35%).
Pay postman duties. Examples: EXAKTA. The only
completely versatile 35mm camera. With:
Automatic diaph. Zeiss Tessar
295.00
Automatic
diaph.
Isco
. > y i
Westanar
F/2.8
. $139. (duty $19. |
5.00
Automatic
diaph.
Schneider Xenon
25.00
F/1.9
. $195. (duty $26)
25.00
Automatic
diaph.
Zeiss
Biotar
F/2.0
. $199. (duty $26)
150.00
Similar prices all
other
famous makes. All new.
Latest 1955 production in original factory packing.
Parcelpost and insurance included. No other
charges. Pre-payment through bank and inspection
on arrival guarantees you complete satisfaction
before we are paid. Experienced, (and objective)
advisory service, (please specify interests and re¬
quirements), and pricelists by return airmail. All
transactions on money-back basis. WORLDPOST.
TANGIER, MOROCCO.
BASS ... is headquarters for Arriflex 16; the new
Zoomar 16; Cine Specials, all models; Bell &
Howell 70-DL; Bolex H-16; Used Cine Special II,
1" F: 1 .4 Ektar, new Par finder, case, $875.00;
H-16 DeLuxe Bolex, 1" F: 1 .4 Biotar, $245.00;
B.&H. 70DL, 1" F: 1 .9 Comat, case, $275.00; B.&H.
70DA, 1" F: 1 .8 Cooke, case, $175.00; Victor 5,
1" F: 1 .5, 15mm F:2.7, 3" F:3.5, case, $165.00.
Best buys . . . Best trades always. BASS CAMERA
CO., Dept. CC, 179 Madison St., Chicago 2, III.
WALL S. S. 35MM. SOUND CAMERA
COMPLETE with Galvanometer, amplifier, portable
power supply, 40-50-75 and 100mm. lenses, erect
image viewfinder, complete front attachments, two
1000 ft. magazines. Balanced Tripod, necessary
carrying cases. Overhauled. Guaranteed perfect.
Reasonable.
CAMERA EQUIPMENT COMPANY
1600 Broadway New York 19, N. Y.
good . . . . . 50.00
35MM ASKANIA CAMERA with 3 Zeisj lenses
and magazines, cases, good . 200.00
DOUBLE BROADS (4) on studio stands, old
style. Fair, each . . . . 25.00
PRINTER, CARLSON, (Depue) 35 to 16, 35 to
35, 16 to 35, 16 to 16, with 120 light
change board. Like new, $6675.00 value. Best Offer
DUPLEX DOUBLE-HEADED 16MM STEP
SURPLUS Eastman factory packed 16mm 400 ft. sound
7302 printing or 7372 recording $2.20 each. One
lot (13 rolls) 7372 200 foot, camera spools, $16.75.
Sensitive for experiment, makes excellent leader
unprocessed or developed black by user. Postpaid,
cash with order only. PHOTOGRAPHIC TECHNI¬
CIANS, INC., 308 Second Avenue, South Charleston,
West Virginia.
PRINTER, 2 light change boards, adapted
for Kodachrome printing, variable frame
size. Fair $2000.00 value . 600.00
HOUSTON REVERSAL MACHINE, Model Milk
3. Good. $6000.00 value . 2000.00
PHOTOVOLT DENSITOMETER with narrow
aperture for sound reading and 3 color
filters. Like new. $1000.00 . . . 500.00
WESTON PHOTO ANALYZER DENSITOMETER,
like new . . . 50.00
MARSHALL VISUAL DENSITOMETER, fair . 10.00
NEUMADE POWER REWINDS, excellnet . 25.00
EASTMAN MODEL X SENSITOMETER, home
made . . . . . . . 25.00
With time and voltage regulator for above.. 45.00
WESTON AMPMETERS DC, 2'/, amps, shadow
dial, excellent, $45,000 value . . . . 15.00
Write, phone or wire:
byron Studios and Laboratory
1226 Wisconsin Avenue, N.W., Washington 7, D.C.
DUpont 7-1800
ere...
in the classified ad columns, you'll find
BARGAINS GALORE
in
New and Used Equipment
of all kinds
A Good Place For YOU
to Sell, too!
RATES ARE LOW — ONLY
10c per word
ALL GUARANTEED LIKE NEW
B&H 70DL, 1" F/1.9, W.A. AND 6" B&H LENSES
COMPLETE WITH CASE AND FINDERS . $365.00
B&H FILMORAMA LENS & BRACKET . 449.00
GSAP BATTERY CAMERAS, CONVERTED, F/3.5.. 49.50
CAMERA CRAFT, 18 East 42nd Street
NEW YORK 17, N.Y. DEPT. G
BELL AND HOWELL 300 watt light source, for Model
"D" or “J" printers, blower cooled, filter holder,
four spare lamps. List $396.00. Will sell for
$250.00. WESTERN CINE SERVICE, INC., 114 E. 8th
Ave., Denver 3, Colorado.
35MM film measuring machine, Neumade, perfect,
$30.00. 35mm film cleaning machine, $15.00.
16mm cleaning machine, $7.50. SAM'S ELECTRIC
SHOP, Passaic, New Jersey.
ONE RACKOVER B&H CAMERA with Fearless movement
and 3 lenses, $2250; one RCA 35mm recorder with
galvanometer, $2950; one Hallen 16mm magnetic
dubber, $495; one Eastman 35mm waxing ma¬
chine, $545 one Raby blimp, $650; one Raby
gearhead, $650. AMERICAN CINEMATOGRAPHER,
Box 1210.
WE BUY, SELL AND RENT PROFESSIONAL AND 16mm
EQUIPMENT, NEW AND USED. WE ARE DISTRIB¬
UTORS FOR ALL LEADING MANUFACTURERS. RUBY
CAMERA EXCHANGE, 729 Seventh Ave., New York
City. Established since 1910.
AUDIO AKELEY single system camera complete with
Akeley sound head, Gyro tripod, 3 lenses, view
finder, Maurer mixing amplifier. Complete with
cables, power supply and W. E. microphone.
CAMERA EQUIPMENT CO., 1600 Broadway, New
York 19, N.Y. Cable: Cinequip.
TRADE 16mm Eyemo sync motor for 35mm Eyemo sync
motor. PYRAMID PICTURES, 1520 Spring St. N W.,
Atlanta, Georgia.
(Continued, on Next Page j
American Cinematographer
July, 1955
437
POSITIONS WANTED
Classified Ads
( Continued, from Preceding Page)
FOR SALE
PRECISION Magnetic Heads for Engineers - Industry
Erase - Record - Playback
STANCIL-HOFFMAN CORPORATION
921 North Highland Avenue
Hollywood 38, California
2 TRAILER MOUNTED Westinghouse motor generators,
2400/4400 volts AC, 120/240 volts DC, 1200 and
1800 amps. AMERICAN CINEMATOGRAPHER, Box
1000.
WANTED
WANTED
Mitchell — Akeley — B & H — Wall — Eyemo
Cameras — Lenses — Equipment
NATIONAL CINE EQUIPMENT, INC.
209 West 48th St. New York, N.Y.
WANTED
PRODUCTION EQUIPMENT, LABORATORY EQUIPMENT,
EDITING EQUIPMENT, 16mm. and 35mm. FROM SIN¬
GLE ITEMS TO COMPLETE STUDIOS. TRADES AC¬
CEPTED.
THE CAMERA MART, INC.
1845 Broadway Circle 6-0930 New York 23, N.Y.
WANTED: Standard Bell & Howell 35mm head con¬
verted to Mitchell type rackover or Bell & Howell
Swing type. Do not need accessories. Also free
head tripod or what have you. Advise best price.
SAM ORLEANS, 21 1 W. Cumberland Ave., Knox¬
ville, Tennessee.
WANTED
IMMEDIATE CASH PAYMENT FOR
CAMERAS AND EQUIPMENT
NEED EYEMOS (SINGLE LENS AND TURRET)
MITCHELLS, ARRIFLEX, DE BRIES, B&H STANDARDS
AND HI-SPEEDS, WALLS, AKELEYS, CINE SPECIALS,
AURICONS, MAURERS, FILMOS. ALSO BALTARS,
COOKES AND OTHER LENSES. SOUND STAGE
LABORATORY AND EDITING EQUIPMENT OF ALL
TYPES REQUIRED. PLEASE SHIP INSURED OR FOR¬
WARD DESCRIPTIONS AIRMAIL. IMMEDIATE PAY¬
MENT.
GORDON ENTERPRISES • 5363 N. Cahuenga
NORTH HOLLYWOOD, CALIFORNIA
WANTED TO BUY FOR CASH
CAMERAS AND ACCESSORIES
MITCHELL, B&H, EYEMO, DEBRIE, AKELEY ALSO
LABORATORY AND CUTTING ROOM EQUIPMENT
CAMERA EQUIPMENT COMPANY
1600 BROADWAY, NEW YORK CITY 19
CABLE: CINEQUIP
IF IT WORKS — WE WANT IT
Cameras, Dollies, Lenses, Lights,
Moviolas, Printers, Recorders,
Studio or Lab Equipment
We also trade or take consign¬
ments. Set your own price — we'll
get it.
Western Union-WUX New York,
Phone PL 7-0440
S.O.S. CINEMA SUPPLY CORPORATION
Dept, fc Cable: SOSOUND
602 W. 52nd Street New York 19, N. Y.
F & B PAYS MORE
FOR USED 16/35MM EQUIPMENT
WRITE — WIRE — PHONE
FOR OUR CASH OFFER
FLORMAN & BABB MU. 2-2928
70 W. 45TH ST. NEW YORK 36. N.Y.
NEGRO — Catholic, experienced cameraman, 35mm
newsreel, 16mm color productions, editing, light¬
ing, titling, also projectionist. MALCOLM MYERS,
3424 Clark Ave., St. Louis 3, Missouri.
POSITIONS AVAILABLE
EXPERIENCED 16mm cameraman wanted by growing
producer in South. Give experience and references
in first letter. Write Box 1211, AMERICAN CINE¬
MATOGRAPHER.
CAMERA & SOUND MEN
TOP-NOTCH cameraman available. Has done over 400
TV films, industrials, commercials. Eastmancolor,
kodachrome, B&W. Has made films all over U.S.,
Canada, Mexico, Europe. Now available for the¬
atrical short subjects, features, or TV film series.
Has complete Mitchell equipment. BOX 1205,
AMERICAN CINEMATOGRAPHER.
LABORATORY & SOUND
SOUND RECORDING at a reasonable cost. High
Fidelity 16 or 35. Quality guaranteed. Complete
studio and laboratory services. Color printing and
lacquer coating. ESCAR MOTION PICTURE SERVICE,
INC., 7315 Carnegie Avenue, Cleveland 3, Ohio.
Phone Endicott 1 -2707.
ROCKY MOUNTAIN 16MM HEADQUARTERS
Processing — Printing — Recording
Editing — Production — Rental — Sales
DuPont, Eastman and Fastax films in stock.
Write for Price List.
WESTERN CINE SERVICE, INC.
114 E. 8th Ave., Denver 3, Colo. TAbor 5-2812
LOWER cost 16mm editing and sound recording —
— only 22 miles from Hollywood. EL RANCHO
AUDIO, 26236 Fairview Avenue, Lomita, California.
DAvenport 6-4925.
WHAT’S NEW
(Continued from Page 386)
on film. Exclusive inking method per¬
mits individual hand operation of coding
when necessary.
Other features include a Veeder-Root
counter, and an American Ink number¬
ing machine. Price of either 16mm or
35mm model is $2,500, f.o.b. Hollywood.
★
Magnetic Film Splicer
Camera Equipment Company, 1600
Broadway, New York, has introduced
its new Clear Vision Magnetic Film
Splicer. Made of non-magnetic metals,
splicer makes a strong butt or lap splice,
straight or diagonal, on 35mm,
or 16mm film. Splicer employs newly-
developed Mylar tape as splicing agent.
*
Spot Meter
A new improved Spectra Brightness
Spot Meter has been announced by Photo
Research Corpn., 127 W. Alameda Ave.,
Burbank, Calif. The meter measures the
brightness of a small spot from a remote
location. This brightness is indicated di¬
rectly on the instrument dial in footlam-
berts. Any operator will secure the same
reading of a given light condition, since
the unit is completely independent of
the sensitivity of the user’s eye.
BULLETIN BOARD
( Continued from Page 382 )
Cord, ASC, and Thomas Tutwiler, ASC,
behind the cameras. Latter, who did the
aerial photography on “Strategic Air
Command” has been signed by Warners
to direct the aerial photography of the
“Lindbergh Story.” Company leaves for
New York and east coast locatiions
middle of July.
★
Harold Stine, ASC, whose name as di¬
rector of photography is familiar in the
credit titles of such TV films as “Treas¬
ury Men In Action,” and “Man Behind
The Badge,” was signed last month to
photograph the “Medic” series.
★
A new division to handle all products
and activities relating to the Todd-AO
process, has been set up by the American
Optical Company at Southbridge, Mass.
William F. Peck, is general manager of
the new division.
★
Boris Kaufman, ASC, recent winner of
the Academy Award for photography of
“On The Waterfront,” has completed
photography of a color phantasy
directed by Nicholas Webster. Produc¬
tion was shot in 35mm for the On Film
Company, New Jersey.
OLD TIME MOVIES
(Continued from Page 392)
than now prevail, Niver has to compen¬
sate for that, too, in order to project the
pictures through modern machines. In
doing so, he has somehow eliminated
the flicker that characterized the early
silents, and at the same time improved
the picture quality. The pictures as he
reproduces them are better than their
makers ever imagined they could be.
Niver is aware of the psychological
hazard in eliminating the flicker, for
flicker lends a persuasive nostalgic touch
to old movies. But he is convinced that
progress — even in pictures older than a
half-century — is both inevitable and
commendable. So out goes the flicker,
and posterity may make what it wishes
of the omission.
138
American Cinematographer
July, 1955
rr. . . and Bell & Hoivell
equipment helped us
do it!”
says SID SOLOW
Vice President and General Manager
Consolidated Film Industries (Hollywood)
First place in film quality . . . first
place in speed . . . first place in econ¬
omy ... a “clean sweep" for Consoli¬
dated Film Laboratories in Billboard
Magazine’s Third Annual Film Serv¬
ice Awards competition. Consoli¬
dated uses Bell & Howell equipment
in every major step of film processing.
:;1- • '
|gg - j||
TECHNICIANS AT CONSOLIDATED rely on Bell & Howell equip¬
ment for the prize-winning performance that helped win all three of
Billboard's top honors. “We use Bell & Howell J and D printers,” states
Mr. Solow, “and our labs turn out quality films fast — at reduced cost.”
“AUTOMATIC SPLICERS by Bell & Howell
give us quick splices with a weld as strong
as the film itself,” explains Ed Reichard,
chief engineer at Consolidated Laboratories.
More than anyone, professionals know
HONORARY ACADEMY AWARD 1954
To Bell & Howell for 47 Years
of Pioneering Contributions
to the Motion Picture Industry
experience
FILMOSOUND PROJECTORS are used to inspect
every film before delivery. Ted Hirsch, lab superintendent,
says “Filmosounds are tops for delicate treatment of film,
yet so rugged they require only minimum maintenance.”
leads to Bell & Howell
SEMI-AUTOMATIC CONTINUOUS PRINTERS • AUTOMATIC FILM SPLICERS • STUDIO CAMERAS • EYEMO CAMERAS • 35mm TO 16mm PICTURE REDUCTION PRINTERS
For balanced
color... use byron
color-correct
prints
V-,
script
art
titling
animation
Byron color-correct* prints give you color that is
never too light — never too dark — color that is always
right! Such perfection is a regular service at Byron
— backed by efficient personnel, precision
equipment, operating in a plant designed for peak
performance. Byron quality, Byron service costs
no more , and is available in 8 hours if necessary.
Write, wire, or call today for an
early start on your job !
. . . and for balanced service
byron offers you these 16mm
production facilities:
recording
location photography
music library
sound stage
editing-
sound effects -
complete black and white
laboratory facilities
precision magnetic striping
byron
Studios and Laboratory
1226 Wisconsin Avenue, N.W., Washington 7, D.C. DUpont 7-1800
*Reg. U. S. Patent Office
PRACTICALLY EVERY 16MM FILM PRODUCER IN THE WESTERN HEMISPHERE IS A CLIENT OF BYRON
•00
• The
New Yellow Flame Carbons
Eleven Cameras For Circarama
• Set Lighting For Commercial Films
FORSiON 35c
EASY TO OPERATE
COMPARE
THESE FEATURES AND TOTAL COST
WITH EVERY OTHER PROCESSOR!
DOES IT!
with the new
HOUSTON FEARLESS
LABMASTER
16 mm Film Processor
1
Never was there a film processor as easy to
use as the Houston Fearless Labmaster!
Fully automatic. Daylight operating. All con¬
trols grouped for maximum convenience.
For 16mm b&w negative or positive film.
Easily converted for reversal film or color.
Famous Houston Fearless quality, produces
consistently finer results.
EASY TO SERVICE
All parts of the Labmaster are easily acces¬
sible for routine servicing and maintenance.
EASY TO OWN
• Completely self-contained
no added accessories nec¬
essary to operate.
• Highest speed consistent
with quality work. Variable
control.
• Change magazines without
stopping machine.
• Exclusive Houston Fearless
Clutch Drive eliminates
film breakage.
• Convertible for reversal or
color film.
• Temperature control on
developer and fixer.
• Recirculation on developer.
• Venturi-type air squeegee.
Highly effective.
• Built-in compressor for air
squeegee.
• Filtered, forced air, infra¬
red heat in dry box.
• Hot air exhaust provided
on dry box.
• Bottom drain on each so¬
lution tank.
• All parts easily accessible
for service.
• Compact, “in-line” design.
• Priced far lower.
Priced far lower than any comparable ma¬
chine! Price includes built-in air compressor,
recirculation pump, loading elevator, tem¬
perature control, speed control . . . every¬
thing complete to plug in and operate. In
comparing values, be sure to add the cost
of all necessary extras to the price of other
NEW! EASY FINANCE PLAN
Let your new equipment pay for itself from sav¬
ings it will earn. Small initial payment. Balance
up to 5 years. Low interest. Write for details.
makes!
11809 W. OLYMPIC BLVD., LOS ANGELES 64, CALIF. • 620 FIFTH AVE., NEW YORK 20, N. Y.
HOUSTON
DIVISION COLOR CORPORATION OF A*
“WORLD’S LARGEST MANUFACTURER OF MOTIO
FILM PR0CESSIN6 AND TV STUDIO EQUIPMENT
Name
Firm
Title
Address
Zone
State
Houston Fearless Div., I1809 W. Olympic Blvd., Los Angeles 64, Cal.
Send complete details on ( ) Labmaster. Other Processors:
( ) 16mm ( ) 35mm ( ) B&W ( ) Color ( ) Negative ( ) Positive
( ) Reversal ( ) Negative-Positive. ( ) Printers ( ) Scene Testers
( ) Camera Dollies ( ) Tripods ( ) Heads ( ) TV Pedestals
m
PERMA-LOCK MIRROR
GUARANTEES POSITIVE
MIRROR ALIGNMENT
Only a Perma-Lock snaps into
position and stays in position.
This insures positive mirror
alignment, perfect focus after
every globe removal. Even a
severe jolt can't disalign mirror,
TODAY, WRITE FOR COLORFUL NEW
CATALOG-BROCHURE “NEW DIMENSIONS IN
CONTROLLED STUDIO LIGHTING”
world headquarters for the finest engineered lighting & production equipment (sales and rentals),
1117 North McCadden Place
Hollywood 38, California
LIFETIME BEAM-PILOTS ]
GUARANTEE FLARE-FREE
SPILL-PROOF LIGHTING
Encircling every Fresnel lens-zone
are special, opaque bands, fused
to the glass. These Beam Pilots
prevent flare and spill-light by
controlling side-beam deflection,
and without losing useful light.
are? •
BSSsSK:;
r
combine all 3
Si*
DUAL CONTROL FOCUSES
BOTH FRONT AND REAR
New dual-focus control is twice as
convenient, twice as accurate
as unsteady, old-fashioned one
lever focusing. Even-Action focus
is always smooth, absolutely
precise and accurate from spot
to flood positions.
AMERICAN
# .
to you
/
• • •
whose
intelligent
demand
has
helped
US
create
TOITTm
. . . our
sincere
gratitude
and
appreciation
CONSOLIDATED
FILM
INDUSTRIES
959 Seward St., Hollywood 38, Calif .
1740 Broadway, New York 19, N. Y.
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
PUBLICATION OF THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
Arthur E. Gavin, Editor
Marion Hutchins, Editorial Assistant Emery Huse, Technical Editor
Editorial Advisory Board: John Arnold, Arthur Edeson, Lee Garmes, Charles
Rosher, Leon Shamroy, Fred Gage, Glenn R. Kershner
Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Calif.
Telephone: Hollywood 7-2135
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
VOL. 36 AUGUST • 1955 NO. 8
In This Issue
ARTICLES
Magnasync Sponsoring Educational Contest . 452
The Filming of ‘Forbidden Planet’— By George Folsey, A.S.C. - - 460
Movies in Law Enforcement — By R. Harlow Schillios .... 463
The New Yellow Flame Carbons — By Charles Handley .... 464
Set Lighting for Commercial Films — By Charles Loring .... 467
Guts, Vision— Crying Needs to Rejuvenate Newsreels — By Charles S. Peden 471
Shooting the Entire Picture on Location — By Frank Daugherty - • 474
Eleven Cameras for Circarama — By Leigh Allen . 476
Kinevox Builds Disneyland Exhibit Controls . 490
AMATEUR CINEMATOGRAPHY
Say Something Extra with Sound — By Harold Benson .... 478
A Coupled Range Finder for Cine Cameras — By Alvin D. Roe - - 481
FEATURES
Industry News . 446
What’s New in Equipment, Accessories, Service . 450
Bulletin Board . 458
Hollywood Studio Production . 494
ON THE COVER
BRYNA PRODUCTIONS crew shooting a scene for “The Indian Fighter,’’
starring Kirk Douglas, on location at Bend, Oregon. Director of pho¬
tography is Wilfrid Cline, ASC. Note use of both booster lights and sun¬
light reflectors to provide fill light in the scene. Story on the photography
of the picture appears elsewhere in this issue. — Photo by Anthony IJ grin.
|lllllllllllll!llIlllIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIlUlllllllllllIIIIIIIII||||||||||II|||||||l
gj AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. g
g C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. Entered as second class matter jg
jj Nov. 18, 1937, at the postoffice at Los Angeles, Calif., under act of March 3, 1879. SUB- g
g SCRIPTIONS: United States and Canada, $3.00 per year; Foreign, including Pan-American gg
g Union, $4.00 per year. Single copies, 25 cents; back numbers, 30 cents; foreign single g
m copies, 35 cents; back numbers, 40 cents. Advertising rates on application. Copyright 1955 g
g by A. S. C. Agency, Inc.
Illlilllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll!
For over 25 years, Mitchell Cameras have set profes¬
sional photographic standards for the Motion Picture
Industry. These flawlessly designed, ruggedly con¬
structed cameras have proven themselves in smooth,
positive operation under the most exacting condi¬
tions. Today, as yesterday, the World’s greatest films
depend upon Mitchell— professional equipment for
truly professional results.
The 16mm Professional has the same proven Mitchell 35mm
features — to bring 35mm quality to 16mm screens. Equipped
with 16mm Mitchell blimp, this camera is a favorite of lead¬
ing commercial producers for sound photography.
The Mitchell 35mm Camera — standara equipment of major studios
—is internationally known for dependability and performance. For
superb photography, Mitchell 35's are available in BNC (blimp '
unnecessary); NC and Hi-Speed models to meet every requirement.
666 West Harvard Street • Glendale 4, Calif. • Cable Address: "MITCAMCO «
■
85% of the professional motion pictures shown throughout the world are filmed with a Mitchell
35mm Holmes Projector
Just Released —
U. S. Navy Surplus
35mm Eyemo Lenses
1 " Eymax Fxd. Foe. F4.5 . $ 22.50
1" Balter Fes. Mt. F2.3 . 125.00
1 " Kinar fcs. mt. F2.3 . 99.50
7" Eymax fcs. mt. F2.8 . 57.50
7" Kinic Fcs. Mt. F2.8 . 67.50
4" DP. FLD. Panchro F2.5 . 129.50
16mm Projection Lenses
3" Bell & Howell Ctd . $9.95
Reg. $32.50
A" Bell & Howell Ctd . 9.95
Reg. $37.50
LIGHT STANDS
Bardwell & McAlister
! SEMLER INDUSTRIES, INC.
6853 LANKERSHIM BOULEVARD
| NORTH HOLLYWOOD, CALIFORNIA
S _ . _ _ _ _ _ _
In the race to be the first to put its
video-film cameras into practical use,
the Allen B. DuMont Laboratories ap¬
pear to be the winner. Beginning August
16th, DuMont’s broadcast division will
start production on the first of 39 half-
hour TV film shows for Jackie Gleason,
using its Electronicam System, which
was described in the May, 1955, issue of
American Cinematographer.
To he shot in 35mm, each film will be
a half-hour version of “The Honeymoon-
ers” which heretofore was telecast live
from New York. New Gleason sponsor
for 1955 is Buick.
Filming will take place at the Adelphi
Theater in New York, which is being re¬
vamped for the purpose by DuMont.
★
Technicolor Motion Picture Corporation
last month took title to the buildings and
grounds in Burbank, California, former¬
ly owned by Color Corporation of Amer¬
ica. Technicolor will utilize the former
Cinecolor plant for its research staff and
laboratories after remodeling is com¬
pleted.
★
DuPont’s remarkable new "Cronar
polyester photographic film base will be
described in a special report to be given
at the National Photographic conference,
to be held in Chicago in conjunction with
the Photographers’ Association of Amer¬
ica annual convention, August 15 to 19.
Report will also include information
about the experimental use for cine-
films of a “Cronar” base only 2^2 mils
thick. Conventional cine film base is 5
mils thick.
\
Produced in experimental quantities
for approximately three years, “Cronar”
polyester photographic film base is ex¬
pected to be in production at a full-
scale plant at Parlin, New Jersey early
this fall.
DuPont’s graphic arts films, and then
those for cine use, will be the first prod¬
ucts to be converted to the new base.
★
Closed circuit television facilities recent¬
ly installed at Consolidated Film Indus¬
tries’ Hollywood laboratory will now ac¬
commodate 35mm film in addition to
16mm. Existing 16mm closed-circuit vid-
icon units have been augmented by the
installation of equipment for the new
35mm film chain.
New facilities will now afford TV pro¬
ducers, film editors, cameramen and oth¬
er clients of Consolidated to view TV
film release prints on closed circuit TV
to pre-determine how films will look on
home television screens.
★
A new sales office to serve nine Western
states has been opened at 6331 Holly¬
wood Blvd., Hollywood, by S.O.S. Cine¬
ma Supply Corp., of New York.
Heading up S.O.S.’s west coast office
staff is Alan C. Macauley who has been
named Exclusive Western Representative
for S.O.S. by Joseph H. Tanney, presi¬
dent of the company.
Macauley was formerly associated with
several film production companies and
has had many years practical production
experience.
★
Marking their fourth expansion move in
as many years, Florman & Babb, motion
picture equipment manufacturers and
distributors, last month moved to new
and larger quarters at 70 West 45th
Street, New York 36, N. Y.
New quarters includes a spacious
showroom 100 by 20 feet plus a large
mezzanine floor all of which, according
to Florman & Babb, gives the company
the largest street-level showroom for ex¬
clusive motion picture equipment in New
York. In addition new quarters provide
expanded rental facilities; new, fully-
equipped machine shop for repair, serv¬
icing and manufacturing; new credit fa¬
cilities for purchase of new or used
equipment; and greatly increased stock
of all motion picture equipment items.
★
An historical survey of the development
of practical motion picture photography
and projection, titled “Origins of the
Motion Picture,” is among the most re¬
cent film productions of the U. S. Naval
Photographic center at Washington,
D. C.
Produced to meet instructional needs
of the Naval Photographic School at Pen¬
sacola, Florida, the 20-minute film also
provides professionals in the industry
with background information on man’s
search for ways to pictorialize action,
from the cave drawings of Altamira,
Spain, to Edison’s Vitascope.
The story is told by means of still
photographs, original art work, stock
motion picture footage, some of it re¬
produced from paper film, and live pho¬
tography.
The film, which will be released in
mid-summer to Navy film libraries
throughout the country, has already been
selected for showing at the next Edin¬
burgh and Venice Film Festivals.
446
American Cinematographer
August, 1955
• ‘ vi jw
SALES • SERVICE • RENTALS
THE WORLD'S MOST COMPLETE ASSORTMENT
OF PHOTOGRAPHIC EQUIPMENT FOR
T \l. and Meltwi Ficfon® SIueIm'
New PROFESSIONAL JUNIOR
Adjustable wood BABY TRIPOD
•for Prof. Jr. friction
PACKAGED LIGHTING WITH
COLOR-TRAN
and geared heads
studio lighting in a suitcase
FAMOUS
"controlled
action"
SMALL GYRO
i TRIPOD
Has substantial shoe and spur.
Measures from floor to flange
25" extended —17
collapsed.
Two speeds — slow and fast
— for both panning and tilting.
Helps you capture fine scenic views
and fast-moving sports events. Espe¬
cially recommended for 16mm Mitchell.
16mm Maurer, B & H Eyemo
and similar cameras.
Imagine being able to use two 5000 watt units
on a 30 amp. fuse — COLOR-TRAN will do it!
Kit contains 2 light heads, 2 Superior stands and
proper size COLOR-TRAN converter to match.
Packed in compact case.
Write for COLOR-TRAN Catalogue.
Senior Kit
$237.50
Other style
kits available.
presto-splicer
GIVES PERMANENT SPLICE
IN lO SECONDS!
ELECTRIC
FOOTAGE TIMER
STOP MOTION MOTOR
FOR CINE KODAK SPECIAL
Dual model for both 16mm
and 35mm. Large white num¬
erals on black background. Accu¬
rate reset dial. Switch controlled
by operator, who selects either
16mm operating at 36 feet per
minute — or 35mm operating at
90 feet per minute ... or both
in synchronization. $95
Runs forward or reverse, 110
AC synchronous motor with frame
counter. May be run continuously
or for single frames; Camera
mounts without special tools.
Model R-2 for 35mm silent and sound
film. Precision construction makes it easy
to get a clean, square splice with accur¬
ate hole spacing. Nothing to get out of
order.
Especially good for splicing magnetic
film. Butt Weld type for non- perforated
or perforated film. 16mm, 35mm or
70mm. drC/TT OA
Also available — Stop Motion
Motors for 16mm — 35mm B & H,
Mitchell and other professional
cameras.
Single model, either 16mm or
35mm
Also Bell & Howell 8mm, 16mm and
35mm Hot Splicers and B & H Labora¬
tory model Foot Splicer.
16mm or 35mm model:
for perforated film.
*9. 5mm Lenses in 16mm C mount. 18.5mm (extreme wide angle-flat field)
Lenses available in mounts for all 35mm Motion Picture Cameras.
‘PHOTO RESEARCH Color Temperature Meters. ‘Electric Footage Timers
‘Neumade and Hollywood Film Company cutting room equipment.
‘Griswold & B.&H. Hot Splicers. ‘DOLLIES — Bardwell-McAlister, Mole
Richardson, Century and Colortran Lighting Equipment.
Complete line of 16mm and 35mm Cameras
FRANK C. fUCHER
•i.-f-'r,);;,
(TflincRH tquipmcnT (o.
1600 BRORDOJRy \ flCW 80RK CITVJ
need location
lighting. ..fast?
Call on Jack Frost , one of the
nation's largest suppliers of
temporary lighting facilities.
Wherever you are, whatever your
lighting needs, you can depend on
Jack Frost’s expert handling and com¬
plete range of equipment, from a
100 watt inkie to 225 amp arc with
mobile power plants. In the studio
too, we can supplement your present
equipment to meet any situation, any¬
where. We’ve been doing it for years
for many of the top shows.
Our service includes complete installa¬
tion and removal at one low cost.
free estimates
Write or wire for a free estimate and
a Free Catalog of Equipment.
JACK A. FROST
Dept. AMCI
234 Piquette Ave., Detroit 2, Michigan
425 Burnamthorpe Road, Toronto 18, Ontario
MOW! "Oscar” Winning SOUNDCRAFT Magna-Striper
Available in New 16-mm Model!
1 Take-up reels
2 Peed reels
3 Splicing elevator
(40 seconds capacity)
4 Exhaust fan motor
(1800 cfm)
5 Feed bottles with
bottom screw vents
6 Drying air thermometer
7 Micrometer stripe adjustments
8 Binocular microscope
9 Sapphire shoes beneath
precision striping heads
10 Splicing block
1 1 Air heaters
12 295' leader
13 High temperature drying
chamber (4 minutes)
14 Removable partition
facilitates threading
15 Low temperature drying
chamber (2 minutes)
14 Sliding glass doors
How the New 16-mm Magna-Striper
applies Soundcraft Magnetic Oxide in
three widths tor three different pur¬
poses.
25-Mil. MAGNA-STRIPE for
double-perforated silent film
50-Mil. MAGNA-STRIPE for both
magnetic and photographic sound
100-Mil. MAGNA-STRIPE for
all-magnetic-sound track
Here at last is the answer to the de¬
mand for local striping service to pro¬
vide true hi-fidelity 16-mm magnetic
sound
... an entirely self-contained,
semi-portable, one-man operated
magnetic oxide striping machine,
identical in every vital feature to
the now famous 35-mm Sound¬
craft Magna-Striper which won
the coveted 1953 Academy of
Motion Picture Arts and Sciences
Award.
... the same fine Soundcraft en¬
gineering and construction that
every major Hollywood producer
of CinemaScope has used to
process stereophonic sound re¬
lease prints.
With ease and precision this new
equipment quickly applies two stripes
of Soundcraft’s perfected magnetic
oxide to any 16-mm film . . . black and
white or color, single or double per¬
foration. Jeweled bearing shoes (Item
9 above) assure precision striping
even with old, warped or distorted
film . . . even when spliced and spliced
and spliced! All wiring is explosion
proof.
<!*
Write today for complete franchise
information and full technical details
about how you, too, can build a highly
profitable business with this revolu¬
tionary new Model Z 16-mm Sound¬
craft Magna-Striper!
For Every Sound Reason
REEVES
SOUNDCRAFT
CORP.
Dept. AE 6
10 East 52nd St., New York 22, N. Y.
**★★★★★★★★★★*
+ *
* \ Collector’s »
* Item!
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-K
-fc
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CINEMATOGRAPHIC *
ANNUAL
*
Published in 1930, a limited *
number of the original editions of *
this valuable technical book are
available to cinematographers,
movie amateurs, schools and public *
libraries. ^
600 PAGES OF *
TECHNICAL *
ARTICLES *
*
written by some of the highest paid jy
technical talent in the motion picture
industry. ^
No other book ever written contains *
so much data supplied by the profes-
sionals of Hollywood’s motion picture
studios.
Optica] Science of Cinematography;
Composition in Motion Pictures, by Dan
Clark, A.S.C.; Painting With Light by
Victor Milner, A.S.C.; Light Filters in
Cinematography, by Ned Van Buren,
A.S.C. ; Art in Makeup, by Max Factor;
Motion Picture Studio Lighting; Sound
Recording; Micro-Cinematographic Ap¬
paratus; Useful Facts and Formulae —
these are but a few of the subjects
covered in this book.
A MUST FOR YOUR
LIBRARY OF TECHNICAL BOOKS
Printed on fine coated paper, contain¬
ing hundreds of photographic illustrations,
and bound in blue leatherette, this book
could not be produced today for any¬
where near the special price asked . . .
$|00
Postpaid
MAIL THIS COUPON TODAY!
American Society of Cinematographers
1782 No. Orange Dr.
Hollywood 28, Calif.
Gentlemen: Enclose find $1 .00 for which
please send me a copy of the CINEMATO¬
GRAPHIC ANNUAL.
Name . .
Address .
City . Zone . State . .
. . . in equipment, accessories, service
Printer Cue Unit
Anson Research Co., 4337 Clybourne,
No. Hollywood, Calif., announces the
new Dunning Magic Dot light change
activator for B & H model H and J film
printers. Device, which applies metallic
dot to edge of film, eliminates old notch¬
ing method. Magic dots activate printer
light change by electrical contact.
Dual Reader
The Camera Mart, 1845 Bdwy., N. Y.
City, offers a Dual Reader for 16mm
film editing. Device consists of optical
sound reproduction unit that will read
either variable area or density tracks, a
4-watt amplifier with speaker, and a
base plate to which any 16mm viewer
may be added. Operates on 110-120-V,
60 eye. A.C. Price is $195.00. Literature
is available.
automatic operation, slip-clutch film
drive, quality control. Compact, portable
unit sells for $80*0 up, depending upon
accessories desired. Literature is avail¬
able.
Auricon Conversions
Harold’s Photography & TV, 308 So.
Philips Ave., Sioux Falls, S. D., is mar¬
keting a 400-ft. magazine conversion for
the Auricon Cine-Voice and Pro cam¬
eras. Adaptation incorporates unique
ball-bearing drive. Built-in footage indi¬
cator shows amount of film used. Built-
in camera phone-jack affords closer mon¬
itoring of sound. Conversion permits
camera to take 100, 200 or 400 foot
rolls of film.
Camera Rackover
Cine Products Co., P.O. Box 135,
Westlake, Ohio, announces a precision
rackover device for Bell & Howell "70
cameras. Mounts on any standard tri¬
pod. May be used with all camera ac¬
cessories in place. Other models also
available for Bolex H-8 and H-16 cam¬
eras. List price is $28.50.
Photo Research Moves
Film Processors Photo Research Corporation moved
Milford Film Machine, Milford, Conn., from Burbank to new quarters at 837
announces a new, economical and low- No. Cahuenga Blvd., Hollywood, last
priced 16mm film processing machine month.
for daylight operation. Features include (Continued on Page 498)
450
American Cinematographer
August, 1955
apply
The One-Stop Source
A M
“ Auricon Pro-600 ” with Lens
Blimping Hood , Auto Parallax
Finder with Magazine, Tripod
Write for free illustrated “ Auricon Pro-600” literature and price schedule
SPECIAL OFFER to AURICON-PRO OWNERS
S.O.S. will accept your old camera as a trade-in for
the “All New Auricon Pro-600”. Time Payments, Too!
Microphone
Combines for first
time most ideal
features desired
by the industry
Film Numbering Pays Off
"Auricon Pro-600" with Single-
Lens “ C " Mount, Tele-Finder
Objective, View Finder, Magazine
1. Perfect Cardioid Performance — not sensitive to wind nor AC hum
— no ribbon element used.
2. Higher level output — Actual plotted curve of 30 to 15 KC included
with mike.
3. Shock mounted, weighs 24 oz.( can be used on fish pole.
4. Built-in Dialogue Equalizer with 3 steps. Ideal for tape recorders
with no equalizers, like Magnasync, Ampex, Stancil-Hoffman,
Hallen, etc.
Model D-25, $232 — Model D-20, identical but less shock mount, $182
★ 600 ft. film Magazines with Auricon-
Electromatic Take-up, for 16 minutes of
continuous “Talking-Picture'' filming.
“ Auricon Pro-600" with Critical s0|<-j wjtf1 33 day money-back guar-
Ground-Glass Focusing t 3-Lens Turret antee, you must be satisfied!
PRICES START AT $1165
The MOY replaces cue marks, perforations, messy crayons, punches,
embossing — does not mutilate valuable film. Work prints showing
special effects, fades and dissolves require edge numbering to keep
count of frames cut or added. Multiple magnetic tracks in Cinema-
Scope stereophonic recordings make edge numbering a MUST. Write
for brochure.
With NEW Improved Non-Clog Inking System $2475
Present Moy owners can easily install the new and improved inking system!
AMONG RECENT PURCHASERS ARE:
Eastman Kodak Co., Rochester, N.Y. Holland & Wegman, Buffalo, N.Y.
General Film Labs., Hollywood, Calif. Indonesian Supply Mission, N.Y.C.
Reeves Soundcraft, Springdale, Conn. Cinerama Productions, New York
American Optical (fodd AO), Hollywood Columbia Broadcasting System, N.Y.
★ Self-blimped for completely quiet stu¬
dio operation. The whisper-quiet film
flow of The “Auricon Pro-600’ ' is
silent proof of precision design. Your
sound-recording microphone never
picks up “Pro-600“ Camera noise!
it Synchronous Motor Drive for “Single-
System" or “Double-System" Re¬
cording.
it Available at added cost is “Single-
System" equipment for Optical Sound-
Track-On-Film, “C-mount“ Lenses,
Film Magazines, View-Finders, 3-Lens
Turret, Critical Ground-Glass Focusing,
Lens Sun-Shades, Tele-Finders, etc.
Unnumbered
films couse con¬
fusion and loss
of time.
The MOY edge
numbers every
foot of 16,
7 7 V2 r 35mm film
and simplifies
the task of
checking
titles, footage.
The MOy 16 m/fl! & 3§ m/m|
Visible Edge Film
Numbering Machine
S.O.S. Has YOUR BEST DENI
ON
The ALL NEW
AURICON PR0-600
j^or 16mm Optical ^ound - CDn - <0~ilm
Professional
Picture Camera with
Built-in Features
" The Department Store of the Motion Picture Industry'
\ ✓
S.O.S. CINEMA SUPPLY CORP.
602 WEST 52nd ST., NEW YORK .19, N.Y.
Phone: PLaza 7-0440 Cable: S0S0UND
EST. fit 19 26
SEE PAGE 481 FOR IMPORTANT OFFERINGS ON ANIMATION EQUIPMENT AND FILM PROCESSOR
= New 35 mm Model 2A =
== With 180° Shutter =
I A TRULY GRtM. |
for TV, Newsreel
and commercial
For tough and trying assign¬
ments, ARRIFLEX 35 is in a
class by itself. Reflex focusing
through photographing lens
while camera is operating —
this is just one outstanding
ARRIFLEX feature.
Equipped with bright, right-
side-up image finder, 6V2 x
magnification. Solves all par¬
allax problems. 3 lens turret.
Variable speed motor built
into handle operates from
lightweight battery. Tachom¬
eter registering from 0 to 50
frames per second. Compact,
lightweight for either tripod
or hand-held filming. Takes
200' or 400' magazine. Write
for free folder.
CAMERA §
— Blimp now available. —
— 16 mm ARRIFLEX also available. =
Magnasync Sponsoring Educational Contest
Trip to Hollywood and a Magnasync Recorder among
prizes to be awarded students submitting
best paper on magnetic film recording.
The theme ‘’ Present and Future Tech¬
niques in the Science of Motor Picture
Magnetic Film Recording” keynotes a
national educational contest in which
student sound enthusiasts are invited to
participate by a North Hollywood equip¬
ment manufacturer.
Contest sponsors, Magnasync Manu¬
facturing Company, Ltd., are offering the
writer of the best 2000 word paper on
this subject an all-expense trip to Holly¬
wood, where he will be the daily lunch¬
eon guest of top studio sound executives
with personal tours through the major
sound departments. Before leaving Holly¬
wood, the winner will be presented with
one of the company’s new X-400 Mag¬
netic Film Recording Systems and dur¬
ing his Hollywood visit he will have the
use of Magnasync’s Thunderbird cour¬
tesy car.
Winning paper will be published in
the American Cinematographer. Purpose
of the contest, according to De J. White,
Magnasync President, is “to stimulate
the creative imagination of next-genera¬
tion motion picture sound technicians.
Responsibility for the orderly advance¬
ment of cinema sound processes will one
day rest squarely on the capable should¬
ers of these students. The encouragement
we give them today is a worthwhile in¬
vestment in the future of our industry.”
A distinguished panel of top major
studio sound executives have volunteered
their free time to act as final judges of
the most promising papers selected by
Magnasync. They are:
Loren Ryder, Director of Research,
Sound Dept. Head, Paramount Studios,
and Ryder Sound Services, Inc.
Carl Faulkner, Head, Sound Engineer¬
ing Dept., 20th Century-Fox Film Corp.
John Lividari, Sound Director, Co¬
lumbia Pictures Corp.
Papers will be judged on the basis of:
(1) LTnderstanding of the subject tech¬
niques, (2) Imagination and Originality,
(3) Clarity and neatness in the paper
presentation.
Qualification applications will be given
to members of the University Film Pro¬
ducers Association by Magnasync Sales
Manager Howard V. Auchstetter, during
the Association’s Ninth Annual Confer¬
ence, at the University of Colorado, in
Boulder on August 15th. Student con¬
testants may secure a copy from their
U.F.P.A. representative, or by writing
directly to Magnasync Manufacturing
Company, Ltd., North Hollywood, Cali¬
fornia.
To qualify, students must be regis¬
tered in a regularly scheduled course di¬
rectly related to cinematography in an
accredited educational institution with¬
in the continental United States. With
his paper, student will be requested to
have his instructor sign a statement to
the effect that his participation will not
impair the student’s scholastic standing.
Contest Rules
(1) Papers must not contain fewer
than 2000 or more than 2500 words.
(2) Papers must be typewritten,
double spaced, on white 81/2"xll" sheets.
(3) Complete “Qualification Applica¬
tion" must accompany paper.
(4) Paper must be mailed in the flat
without folding.
(5) Envelope must be addressed as
follows:
Student Contest
Magnasync
Box 707
North Hollywood, Calif.
(6) Envelope must be postmarked on
or before December 31, 1955.
(7) Winner will be announced in the
February 1956 issue of American Cine¬
matographer.
(8) All papers become the property
of Magnasync Manufacturing Company,
Ltd., and none will be returned to ap¬
plicants.
(9) Judging will be final and irre¬
vocable.
(10) Only those papers written by full
time students registered in courses di¬
rectly related to cinematography in ac¬
credited universities or colleges within
the U.S. will be considered.
(FI In Expansion Move
A Major Step in Consolidated Film
Industries’ expansion program is an¬
nounced by Sidney P. Solow, CFI Vice-
president and General Manager of the
company’s Hollywood laboratory. A new
two-story annex will be added to the
laboratory’s present 35mm building. The
additional facilities have been designed
to improve service and utilize techniques
developed as a result of Consolidated’s
research in the field of quality improve¬
ment. Construction will begin August
10th.
The new structure marks an import¬
ant extension of CFI’s 35mm processing
facilities. When completed, production
potential will be almost double that of
present black-and-white negative and
positive output, according to Solow.
o
452
American Cinematographer
August, 1955
To Shoot 1 Speechless By Mistake’ for the Bell System
The Bell System wanted a color film that would help
prevent accidental damage to buried and aerial tele¬
phone cables by dramatizing some of the common
cau.ses of such damage and their effect on vital com¬
munications. sound masters of New York was selected
to make the film.
The script called for 'on location' filming — in fields, on
highways, in ditches, on 'Main Street'. More than 95%
of the film required live, lip-synchronized sound. A versa¬
tile, easily maneuverable camera was needed for this job.
sound masters selected the Arriflex 35 Model 1 1A with
Synchronous Motor and Sound-Proof Blimp — and filmed
all the sequences with this equipment within a period of
five weeks. Speechless By Mistake has been completed
and will soon be released by the local Bell Telephone
Companies for public showings.
Says Mr. F. C. Wood, Jr. vice president in charge of
production, "We acquired and used the Arriflex outfit
because it was the lightest, most compact equipment we
could find. It would have been next to impossible to
have done the job so quickly and easily with any other
camera. The Blimp was perfect both indoors and out.
"Needless to say, we were pleased with the results, as
was also the client. The pictures were rock steady and
needle sharp — thanks to the new film gate and inter¬
mittent, and to those wonderful Schneider lenses. The
whole film was a complete success.
"The most wonderful thing about the whole deal is that
the price of the complete outfit was hardly more than
what it would have cost us to rent other equipment."
And Mr. Wood's experience is, by no means, different
or unique, for many other producers and cameramen
have discovered the economy, the quality and the versa¬
tility of the Arriflex 35. No more easily manageable
camera exists anywhere. Yet, it has every facility and
convenience for truly first-rate filming.
Write for complete information to:
Sole U.S. Agents • KLING PHOTO CORP.
235 Fourth Ave., New York 3, N. Y.
7303 Melrose Ave., Hollywood 46, Cal.
F & B PRO CINE-THE MOST
TRIPOD IN THE
MEDIUM WEIGHT CLASS
FOR ALL CAMERAS
Does your tripod include these
exclusive PRO CINE features?
A. External camera tightening knob with angle gears
B. Telescoping, offset tripod handle
C. Second tripod handle position
D. Large positive pan and tilt locks
E. Brass shaft for longer wear, no sticking
F. Separate, precision machined friction plate
G. Four bolted leg supports with leg rest ledge
H. Aluminum leg tops — no holes drilled thru wood legs
I. Single knob leg tightening — for even tension and no warping
J. Superb, seasoned and waxed hardwood legs, will never stick.
Finest Precision Craftsmanship and Materials
FRICTION HEAD UNCONDITIONALLY GUARANTEED FOR FIVE YEARS
MADE IN U.S.A.
EXCLUSIVELY BY F&B
Price $145.00
Heavy Duty Fibre Case $20.00
Available direct
or at leading camera dealers
F & B SPLIT REELS
Ever Have the Center Drop Out?
Eliminates FLANGES and
risky TIGHTWINDS
Simply open Split Reels — slip in film on
core and work with safety, speed and
accuracy.
Now the
LARGEST STREET-LEVEL
SHOWROOM IN NEW YORK
devoted exclusively to MOTION PICTURE
EQUIPMENT. Some of the expanded facili¬
ties we will offer to film personnel are
these:
COMPLETE RENTAL SERVICE . . . Cam¬
eras, lighting, editing, recording and grip
equipment.
CONVENIENCE . . . Street-level, midtown
location . . . Have your crews assemble
at F&B.
EXPERIENCED TECHNICAL PERSONNEL . . .
who understand your filming problems.
COMPLETE EQUIPMENT MAINTENANCE &
ENGINEERING SHOPS . . . Staffed by ex¬
pert technicians.
NEW CREDIT PURCHASE FACILITIES . .
extended time payment service, from 90
days to 36 months.
LOCATED IN MIDTOWN MANHATTAN.
Near atl transportation, hotels and rec¬
reation centers.
F&B EQUIPMENT CATALOG— 24 Pages.
Lists all equipment you need for film
production.
F&B RENTAL PRICE LIST— 16 Pages.
Complete pocket-size list. Everything at
your fingertips about the cost of renting
equipment for Production, Projection, Re¬
cording, Lighting and Editing.
BOTH CATALOGS FREE FOR THE ASKING
SHOOTING COLOR IN A CAVE!
HUGE INDUSTRIAL
INTERIORS
AUDIENCE
REACTION SHOTS
COLOR
NEWSREELS
F&B
NOMINAR 1 " f/0.95 LENS
In C mount for all 16mm cameras
“THE FASTEST CINE LENS IN THE WORLD”
More than twice as fast as f/1.4
Definition, resolution and contrast as good or better
than any comparable lens.
Price $165.00 $9.90 FET
Including —
Series VI filter holder, sunshade
Screw-on dust covers
Leather carrying case
400 ft. SPLIT REEL $4.50
800 ” ” ” 6.00
1200 . 7.50
1600 ” ” ” 9.00
IMMEDIATE DELIVERY
FLORMAN & BABB
Phone: Murray Hill 2-2928
Cable Address - FLORBABB, N.Y.
m
without tools.
art is
F 1 * -
>
Capital skills
are your tools
tor finer films
L-
. . :
■ Sr
miSsitm
PRINTS BY CAPITAL
Editing
’ -t - -
Processing
Printing
Capital Film Laboratories
offers to the creative producer
the finest motion picture laboratory equipment
plus the priceless ingredient . . .
the personal attention
of our select staff of skilled craftsmen.
RCA Sound Recording
Service Studios
J. A. Maurer, Inc.
The direction— 0/
portant part in obtaining
At Precision , expert guidance
producers , cameramen and dire
All of which leads to another j
York to Precision. TliaVs the
film processing problem.
In everything there is
where experience plays an im-
is in the film processing laboratory.
the processing operation assures
results.
: West of 5th Avenue on J>6th Street in New
for you wherever you are and whatever your
Auricon
A PRODUCT OF
BERNDT-BACH, INC.
6902 Romaine Street, Hollywood 38, California
MANUFACTURERS OF S O U N D - O N - F I L M
RECORDING EQUIPMENT SINCE 1931
:: x : : : - . : : :
tsitoo
$32500
with AURICON "SUPER 1200”
16mm Sound-On-Film Camera...
Westinghouse’s TV Station WPTZ in Philadelphia, produces a new
type of public service program called “Telercxna” which combines
live TV Camera pick-ups with “Talking Pictures” especially filmed for
“Telerama” using the Auricon 16mm “Super 1200” Sound-On-Film
Recording Camera.
Adhering strictly to happenings of unusual interest, including big
league sports, the WPTZ Camera Crew gets the sound and the picture
on the same film at the same time, using the Auricon “Super 1200”
Camera. The “Super 1200” Telephoto Finder System, as well as the
Auto-Parallax View Finder, provide an ideal means for photographing
sporting and news events with precision and dependability!
For superb filming results and high-fidelity broadcasting on TV, use
Auricon “Super 1200” 16mm Sound-On-Film Recording Equipment.
Auricon Cameras are sold with a 30-day money-back guarantee. You
must be satisfied ! Write today for free illustrated Auricon catalog.
Berndt-Bach, Inc.
6900 Romaine Street
Hollywood 38, California
Gentlemen:
We want to congratulate you on the superb performance of the Auricon
"Super 1200" 16mm Sound-on-Film Camera.
The Auricon is the most economical camera that we have used. To the
producer of a program such as "Telerama", the important thing is to get
the story on film as it happens. Naturally, in addition to capturing the
story, we want to achieve professional, artistic standards in both picture
and sound. The technical success of "Telerama" is due in large part to
the picture and sound-recording fidelity and complete dependability of our
Auricon Equipment. Most of our filming is on location under very
difficult shooting and acoustical conditions.
The ease of handling and faithful recording ability of the "Super 1200
plus its excellent View-Finder and Telefinder Systems, make Auricon the
best bet in our opinion - for filming sports and news events!
Sincerely yours,
WESTINGHOUSE BROADCASTING COMPANY
cl OuJifL
Leroy A. Bell
Cameraman
Calvin Jones
Executive Director
'-fflaia/y/fouJtr (fy ytavy.jZui
POSTiAU POWHt UNR
$269 50
cmi-vocs
$695 00
AOKKON PRO-**:
IWW.O©
SUP!* 120ft
$4M2.lf, •
SsSUK.i RfCOROm'
$3359.00
ONE CAMERA
16mm or 35mm
in 10 SECONDS!
Camerette.6iS
Reflex Motion Picture Camera
Th* perfect camera for the motion picture film
maker working in both 16mm or 35mm color
•r black and white.
LOOK AT THESE ADVANTAGES —
• The same lenses, same motor drives, same
sound blimp and accessory equipment used
for both 1 6mm or 35mm — to convert simply
change the magazine.
• Precise rugged movement
• Reflex viewing
• 200 degree adjustable shutter
• Divergent three lens turret
• Automatic film gate 400' magazines 16 or
35mm — the 16mm magazine will accom¬
modate daylight spools as well as standard
core load.
s
• Light weight — only 14 pounds with 3
lenses, 400' magazine, and 6/8 volt motor.
Write for brochure
patents coutant-mathot
Manufactured by Ets. Cine. Eclair, Paris
Arthur Edeson, chairman of the A.S.C.
entertainment committee, has announced
that date for the Society’s annual Ladies
Night Dinner and Dance has been set
for Saturday evening, October 29th. A
black-tie affair, it is to take place in the
Mayfair Room of the Beverly Wilshire
Hotel in Beverly Hills. Event will mark
the first time in over 10 years that it has
not been held at the Society’s clubhouse
in Hollywood. An invitational affair, it
is restricted to A.S.C. members and their
wives.
★
John Arnold, ASC, head of the camera
department at M-G-M Studios, is cre¬
dited with making possible by a new
process the important photographic re¬
production of a score of Van Gogh s
immortal paintings for the studio’s forth¬
coming color and CinemaScope produc¬
tion, “Lust for Life.”
Process makes it possible to put the
Van Gogh art on the wide screen with
greater clarity and detail than when the
pictures are photographed direct with
the movie camera.
★
Benjamin Berg, ASC, whose diverse
enterprises include a television film re¬
cording business and an agency for the
distribution of Eclair cameras in the
U.S., is also a short subject producer of
note.
He recently completed a unique 20
minute short in black and white on the
life of the Spanish artist Goya. Film has
no live action but tells its story through
a series of studies of Goya art coupled
with well-written narrative, and back¬
grounded by a remarkable score of
guitar music.
★
James Van Trees, ASC, who was re¬
cently signed by McCadden Productions,
Hollywood, to photograph a new Amos
’n Andy TV pilot film, developed a
unique transition method which enables
Charles Correll and Freeman Gosden,
stars of the show, to go from white face
to black face without need for stopping
the cameras. Format of the new Amos
’n Andy series will have Correll and Gos¬
den open the show as themselves, then
assume black face and dialect as they go
into their comedy roles.
Stanley Cortez, ASC, whose unique
black-and-white photography of “Night
of The Hunter” has received accolades
in the press, was signed last month to
direct the photography of “The Naked
and The Dead,” to be directed by Charles
Laughton. Initial shooting started in the
Hawaiian Islands.
★
Gil Warrenton, ASC, called “the most
travelin’ cameraman in Hollywood,’ was
signed recently by Charles E. Skinner
Productions to direct the photography
of a new TV film series, “Sgt. Preston
of The Yukon.” As with most of his as¬
signments, this one took him out of Hol¬
lywood — this time to Aspen, Colorado—
where he shot exteriors simulating the
Canadian and Alaskan wilds.
★
Harold Stine, ASC, has been signed by
Warner Brothers to direct the photog¬
raphy of two of the studio’s new TV7
film series — “Casablanca” and “Behind
The Camera.”
★
Carl Struss, ASC, will direct the photog¬
raphy of “Mohawk” for Alperson Pro¬
ductions.
★
Walter Strenge, ASC, who recently con¬
cluded directing the photography of the
“Margie” TV film series at Hal Roach
Studios, has been signed by Family
Films for a new series of films to be pro¬
duced at Kling Studios, Hollywood.
★
The Society of Motion Picture and Tel
vision Engineers has set the dates for
two of its future conventions in Los
Angeles. The first is scheduled for Octo¬
ber 7th to 12th, 1956, and the other —
nearly two years later — April 20th to
26th. 1958. Both conventions will be
held at the Hotel Ambassador.
Next convention of the society takes
place this coming October (3rd to the
7th) at Lake Placid, New York.
★
Ziv- TV’s expanded program of produc¬
tion which includes five new video film
series for the fall, promises lots of work
for Hollywood cinematographers. New
films are “Dr. Christian,” “I Love A
Mystery,” “The Man Called X,” “Mr.
and Mrs.,” and “Craig Rice.”
4S8
American Cinematographer
August, 1955
CAMERETTE
Now Available with Two
Important New Features!
★ Adapted for CinemaScope
★ Sound Blimp with Reflex Viewing
Now for the first time — a lightweight camera for CinemaScope photography — the
35mm Camerette with CinemaScope aperture, with full CinemaScope field visible
through the reflex viewer. Auxiliary turret and matte for regular photography.
New magnesium alloy blimp with viewing through the taking lens at all times through
the Camerette’s reflex finder, making a lightweight, fully blimped combination 16mm
or 35mm camera. Synchronous motors — 110-v single phase, 220-v three phase.
ONLY THE CAMERETTE HAS
W rite for descriptive literature
BENJAMIN BERG COMPANY
1410 N. VAN NESS AVE. • HOLLYWOOD 28, CALIF. • Hollywood 9-8023
Patents Coutant-Mathot
Manufactured by Eclair, Paris
Reflex viewing through the taking
lens at all times for both film sizes.
Sound blimp with reflex viewing,
making a fully blimped, instantly
interchangeable 16mm or 35mm
camera.
Ability to use both 16mm and 35mm
film in one camera.
The Filming Of "Forbidden Planet"
The most pretentious science-fiction thriller yet filmed, this MGM
production called for use of every cinematographic trick in the hook.
By GEORGE FOLSEY, A.S.C.
When I was assigned to direct the photography of Metro-
Goldwyn-Mayer’s science-fiction thriller, “Forbidden
Planet,” I was faced with two unique problems: photograph¬
ing a new star — a mechanical robot nearly seven feet tall- —
and lighting the futuristic settings of a fabulous land never
before seen on the screen.
Locale of the story is a mythical planet millions of miles
in outer space, where the sky is of a strange green hue and
where an invisible monster prowls the desolate terrain. All
sets, of course, were built on the sound stage. The story is
set in the year 2200 A. D., and stars Walter Pidgeon as a
scientist, and attractive Anne Francis as his daughter, with
a newcomer, Leslie Nielsen, making his screen debut as the
hero.
More than two years of technical research was undertaken
on the production by the studio before it was turned over
to producer Nicholas Nayfack and director Fred Wilcox. But
research did not stop here. Actually, the important pre-pro¬
duction planning began when we started to visualize the sets
and the action from the camera viewpoint. With a com¬
pletely new subject and a locale virtually dreamed up out of
fantasy, the production posed a fresh new challenge, photo¬
graphically.
The photos on the opposite page will give the reader some
idea of the unique sets which were prepared for the pro¬
duction by supervising art director Cedric Gibbons and art
director Arthur Lonergan. Because so much of these vast
settings — designed for CinemaScope and color film — com¬
prised giant painted backdrops or cycloramas, the problem
of matching the lighting, or achieving the lighting grada¬
tions, far surpassed anything that is encountered in the con¬
ventional type of production.
In addition to the sets, which required all the floor
space of four of the studio’s largest sound stages, mechanical
wizardry and prop-shop skill had brought forth the most un¬
usual of science-fiction innovations. Important props included
an atomic cannon, a space Jeep, and electro-magnetic tractor,
and the picture’s most entrancing personage, Robby the me¬
chanical robot.
The robot’s massive body was motivated by six electric
motors, and was controlled through a complicated switch¬
board panel. He had complete mobility of arms, legs and
head. More than two months of trial-and-error labor were
required to successfully install the 2600 feet of electrical
wiring that made the robot independent and self-operating.
A crew of 19 men worked a month to install the 27 miles
of electrical wiring used in the control cabin of the space
ship. In order to be able to successfully control the extensive
illumination for this one set alone, a set-lighting switchboard
was set up and manned by a score of electricians.
Biggest bugaboo, perhaps, on this picture was the ever¬
present reflection of light. The fantastic, modernistic sets of
bright metal and plastics bounced light in almost every di¬
rection. An example were the “deceleration chambers” —
large tubular plastic cells — into which space ship crew
members must enter for a period of time when subjected
to sudden change in atmospheric pressures — much as “sand-
hogs” and deep-sea divers do after subterranean or sub¬
marine tasks. So, in addition to meeting the problem of get¬
ting adequate light on the set, we then had the problem of
so placing it or masking it as to keep it from bouncing off
the bright surfaces and into the camera.
Equally challenging was a large plexiglass globe in the
center of this same set. It measured nearly 16 feet in cir¬
cumference, and enclosed a smaller globe within it which
was surrounded by two bright steel bands as a decorative
feature. It seemed for a time that it would be impossible to
light this globe in a manner that wouldn’t reflect light. The
( Continued on Page 482)
FEW PRODUCTIONS have demanded the meticulous placement
of set lighting units as did M-G-M’s “Forbidden Planet.” This,
because of the many reflective surfaces which bounced light
back toward the camera. Here director of photography George
Folsey, ASC, (right) discusses a light change with gaffer
Anthony Picciano, who uses a wireless intercom radio to
relay instructions to electricians on catwalks overhead.
460
American Cinematographer
August, 1955
THE SPACE SHIP lands on the Forbidden Planet. Here miniature NOTE THE great depth of perspective achieved in this sound
shots were skillfully matched with full scale sets. stage exterior scene of crewmen disembarking from ship.
ALMOST every prop in this ultra-modernistic production created ANNE FRANCIS meets the Robot in the fantastic House of Tomorrow,
a lighting problem because of reflective surfaces. Note the generous use of effect lighting.
ONLY THE CinemaScope camera could have captured the full WHICH George Folsey’s lighting and skillful camerawork sue
scope and awe-inspiring beauty of this imaginative setting . . . ceeded in giving complete authenticity.
American Cinematographer
August, 1955
461
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POSITION of camera inside car is relatively inconspicuous,
yet it has unobstructed view of road ahead. Using Tri-X 16mm
film, clear pictures are possible at night with light furnished
by automobile headlamps.
METHOD of installing camera in patrol car is shown above. The
battery-driven Bolex H-16 is mounted on an Auto-Pod. Four
radio batteries in case, shown on car seat beside Oregon's
Sheriff Edward W. Elder, power the camera motor.
Movies In Law Enforcement
New, fast 16mm film makes possible night movies of traffic
violators, using only car headlights for illumination.
By- R. HARLOW SCHILLIOS
Darkness, the protective shroud most popular and
deadly with drunk drivers, is being dramatically ripped
from them with something new in law enforcement.
In successful experiments, an Oregon Sheriff has found
night movies of erratic drivers possible with lighting from
patrol car headlights.
Fast film, first used for photographing night athletic
events for reproduction on television, spurred the Lane
County Sheriff’s department to produce its own “selected
short subjects.”
With a Paillard Bolex 16mm movie camera mounted on
an AutoPod mount (see photos), and the camera powered
by a series of five F4P1 Radio A batteries, the patrol
car driver can easily shoot the pictures without detracting
from normal driving operations.
Both Tri-X and Super-XX film have been used successfully
with the camera speed preset at 16 frames per second
and lighting supplied principally by standard sealedbeam
headlights.
With the camera’s F/1.9 lens snugged up to the wind¬
shield. an embarrassing amount of information can be
recorded for judge and jury to see.
Morover, the “star” is oblivious to his being in the lime¬
light.
From test movies made at 11 p.m. on a clear night. Char¬
les E. Smith, chief criminal deputy, reports the following:
“Under mercury vapor overhead lighting or incandescent
street lights, the suspect vehicle was clearly visible as was
the highway center stripe. Make, model and license number
showed clearly on the projection screen. The walk, facial
expressions, gait and coordination of the operator were
easilv observed.
“In tests made on a rural, gravel road with no lighting
other than the police car headlamps, movements of the car
and expression of the operator after he had stepped from
his auto were clearly recorded. However, the field of vision
was sharply curtailed. Maximum range: 40 feet for trailing,
25 feet for operator tests.”
While the Lane Sheriff’s office began filming traffic viola-
( Continued on Page 495)
American Cinematographer
August, 1955
o
463
THE NEW YELLOW
FLAME CARBONS
New tool for set lighting produces less heat
and results in greater economy in
color film production
By CHARLES HANDLEY
National Carbon Company
Recent development work led to the production of a high
intensity type of positive carbon for motion picture set
lighting which operates at a color temperature of approxi¬
mately 3350° K. With the addition of a very light filter to
remove a slight excess of blue and ultraviolet this light
source may be freely mixed with incandescent tungsten for
color film which has been balanced to tungsten illumination
of the same color temperature. From an operating stand¬
point it means that the photographically effective light out¬
put of the carbon arc has been increased over 60% without
additional power input.
From one viewpoint it would seem that white light, which
is composed of equal parts of red, green and blue and is
represented by sunlight itself, should be the ideal balance
for a photographic light source. An equally balanced white
light source lends itself to easier control when removal of
some one color component is indicated ; it is white light that
provides most of the radiant energy for exterior photography.
The difficulty with the foregoing viewpoint is that incan¬
descent tungsten has certain advantages in motion picture
photography, and when mixed with white light for color
filming one must be filtered to balance the other. It has
been stated that at present it is possible to balance color
film to that of a tungsten source on a much higher film
speed rating to tungsten (and an equal speed rating to white
light) than if a white light film balance were used. For this
reason, apparently, professional color motion picture film is
balanced to the tungsten source.
In converting white light to this tungsten balance a filter
loss of at least 4(3 % results. This situation is represented by
the use of a “Brute” lamp with an MT-2 plus a Y-l filter.
By changing the carbon itself to a 3350° K. balance, the
MT-2 filter loss is eliminated.
Two of the inherent advantages of the carbon arc over
other light sources in practical studio use are the great
amount of light from one unit and small source size. These
advantages make possible great carrying power, sharp
shadows and the extreme in controllability.
Where separation of planes of vision are to be produced
by high-level, controllable light sources and to create the il-
THREE SCENES at left illustrate use of the new yellow flame
carbons in recent productions: Fig. 1 shows excellent model¬
ling effect of sunlight achieved for a scene for “The Ten
Commandments.” Fig. 2 shows shadow detail, modeling and
overall single-source effect achieved for “Forbidden Planet.”
In Fig. 3, note how shadow detail and highlights in scene
from “Kismet” duplicate sunlight as though scene were shot
in real locale.
464
American Cinematographer
August, 1955
FIG. 4 — A pastoral scene from MGM’s CinemaScope production,
"Diane,” which required deft handling of all types of lighting
equipment and controls in order to provide soft, but directional
illumination and balance to keep the main characters as high points
of interest while providing maximum separation. Director of
photography was Robert Planck, ASC.
lusion of depth and roundness through contrast perspective
manipulation, the carbon arc has no parallel. Thus, for key¬
lighting, streak-lighting, back-lighting and the creation oi
shadow detail through a high level of fill light the new yel¬
low flame carbon arc provides a tool which will allow the
director of photography to ascend to much greater heights
in creating a perfect illusion.
Creative people in the motion picture industry have al¬
ready started to fit this new tool into their work. How best
to use it for the production of emotional effects which will
forward the total story plan is a matter of individual achieve¬
ment.
In testing and evaluating the yellow flame carbon a num¬
ber of directors of photography were interviewed with the
object of determining individual reactions.
Loyal Griggs, A.S.C., who is director of photography on
the Cecil B. De Mille current production of “The Ten Com¬
mandments” said, “I don’t know how I could have shot ‘The
Ten Commandments’ without the added power of yellow
flame carbons. It was necessary to make a perfect match of
the power, directional characteristics and brilliance of Egyp¬
tian sunshine. De Mille sets have always been terrific in
scope, but the sets for ‘The Ten Commandments’ were be¬
yond the superlatives that might ordinarily describe them.
We had to have directional, controllable light sources with
double the photographic effect of anything in current use.
Yellow flame carbons provided the answer.’’
Figure 1 is a typical scene from this production which
shows an excellent modelling effect of sunlight, giving form
and interest to pillars and back wall.
George Folsey, A.S.C., who photographed “Forbidden
Planet,” a Metro-Goldwyn-Mayer picture which features
huge space ships, king-sized robots, and strange new worlds,
has this to say: “I have just finished shooting ‘Forbidden
Planet,’ using the new yellow carbons — the first picture on
the lot to use them. I found them extremely satisfactory and
I had no difficulty with the color temperature matching that
of the incandescent lamps. I found them especially bene-
FIG. 5 — Another scene from “Diane,” in which sunlight
coming through the window is carefully balanced with con¬
trolled fill light to properly illuminate the characters without
too much spill light falling on the walls.
ficial in duplicating sunlight. They were a great advantage
in maintaining sharpness as far as my long shots were con¬
cerned and I am delighted I had the opportunity to use
them.”
The photography in Figure 2 shows the shadow detail,
modelling and overall single-source effect Mr. Folsey cre¬
ated.
Joseph Ruttenberg, A.S.C., who directed the photography
of the lavish musical “Kismet,” also a Metro-Goldwyn-Mayer
picture says, “I am now using yellow flame carbons on ‘Kis-
(Continued on Next Page)
American Cinematocrapher
August, 1955
465
FIG. 6 — Harry Stradling, ASC, found the new carbons particu¬
larly valuable in shooting the riotous latin night club see les for
“Guys and Dolls,” where much of the illumination was coming
through latticework and where it was necessary to use a high
level of illumination and shoot with reduced shutter opening.
met' and the results are just fantastic; sharper definition and
using less units on our big sets.”
In Figure 3 note how the shadow detail and highlights in
a scene from “Kismet” duplicate sunlight just as though
the scene were shot in its true locale and under ideal light
conditions. The highlight areas are broken up by interesting
shadow detail which separates one object from the other and
from the set background giving the illusion of depth.
Robert Planck, A.S.C., did some outstanding painting with
light on his Metro-Goldwyn-Mayer CinemaScope picture
“Dianne” which is laid in the 16th Century. Figure 4 is a
pastoral scene which required deft handling of all types of
lighting equipment and controls in order to provide a soft,
but directional illumination and balance to keep the main
characters as high points of interest while providing maxi¬
mum object separation. Figure 5 is another scene from
“Dianne” in which sunlight coming through the window is
carefully balanced with controlled fill light to properly illu¬
minate the characters without too much spill light on the
walls.
Harry Stradling, A.S.C., who was assigned to direct the
photography on Samuel Goldwyn’s super-musical picture,
“Guys and Dolls,” almost snatched the new yellow flame car¬
bons from the furnace in order to obtain the light volume
and carrying power he needed for a huge double street scene.
He had them brought out to Hollywood by plane and put
them into production immediately.
“My early evaluation of the new yellow flame carbon
was fully justified,” he said. “They provided twice the carry¬
ing power and light volume of any other lamp I could use
and they played a major part in the successful photography
of the picture. They were particularly valuable in the shoot¬
ing of the riotous latin night spot scene where much of the
illumination was coming through latticework and where it
was necessary to use a high level of illumination and stop
action with narrow shutter opening. I used all of the ‘Brutes’
I could get.” Figure 6 shows the night club scene mentioned
by Mr. Stradling.
How to get the most from the yellow flame carbons on the
basis of an efficient lighting tool may require some changes
in placement techniques. If a “Brute” lamp is fitted with the
new yellow flame carbon and is used in the same position as
the same type of lamp with a white flame carbon plus the
MT-2, Y-l filter combination it will provide at least 60%
more photographically effective light. However, if due to this
placement it is necessary to use a scrim for the sole purpose
of reducing light intensity, then much of the advantage of
the new tool has been lost.
If the lamp can be moved back or flooded to make photo¬
graphic use of the light that would otherwise be thrown
away it will result in greater set lighting economy, less heat
on the set and a smaller number of lamps than are pres¬
ently required on large sets.
It is also planned to provide yellow flame carbons for the
smaller Type- 170 carbon arc lamps, and inasmuch as one
of these at 150 amperes will about equal the photographic
light output of the “Brute” lamp with white flame carbons
and MT-2, Y-l filters, it will be possible to save many
hundreds of kilowatts of power by the judicious choice of
units.
The carbon arc lamp can earn its own way from an eco¬
nomic as well as an artistic standpoint if it is used in such
a manner that its tremendous energy is allowed to reach the
film.
Anyone who has had practical experience in set lighting
realizes that the use of light interferring devices such as
gobos, barn doors, snouts, scrims and other control tools are
almost as necessary for photographic illusion as the original
light source itself. But the making of motion pictures is a
commercial venture as well as an artistic one and light con¬
trol obtained through filtering, diffusing or blocking should
be minimized as much as is practical without interferring
with the emotional result.
One of the major problems which beset studio engineering
staffs at the present time is that of disposing of the heat
liberated by the various light sources in use. Because of the
higher levels of illumination necessary for the new wide-
film processes and the longer throws required for sets having
greater scope than in previous general use, the yellow flame
carbon will give the director of photography an excellent
opportunity to develop more efficient set lighting balances
and to greatly minimize the heat problem.
The pre-lighting of sets is becoming more and more com¬
mon where large areas are concerned. Nothing less than full
dress rehearsal would allow for complete pre-lighting of sets,
( Continued on Page 484)
COMPARISON OF LIGHT OUTPUT OF WHITE FLAME AND YELLOW FLAME 225 AMR POSITIVE CARSONS
BURNED IN M-R TYPE-450-"eRUTE" ARC SPOTLAMP
FILTERED FOR EXPOSURE OF FILM BALANCED TO 3350*K COLOR TEMPERATURE.
40 FEET
LAMP TO SUBJECT
50 FEET
,LAMP TO SUBJECT
75 FEET
LAMP TO SUBJECT
IOC FEET
LAMP TO SUBJECT
SPOT
DU
• IN
feet
'INTENSITY . 0
EC.
©
SPOT
INTEN
F C
SlTY
(i>
SPOT
01 A
IN
FEET
INTENSITY i,
F 0.
SPOT
INTENSITY
... *? c
WHITE
FLAME
CARSON
YELLOW
FuAME
CARSON
DIA
IN
FEET
WHITE.
FLAME
CARSON
YELLOW
FLAME
CARBON
WHITE
FLAME
CARSON
YELLOW
flame
CARBON
D»A
IN
F EE T
WHITE
flame
CARSON-
YELLOW
FLAME
CARBON
MAX .
FLOOD
25
270
450
32
180
300
45
"
130
•
64
'
42
70 j
! MSN.
; SPOT
3
42 00
7000
■
4
3000
5000 |
6
1260
2100
.
8
720
.
1200
©-SPOT DIAMETER AT WHICH THE INTENSITY IS 50% OF THE, INTENSITY IN
CENTER OF SEAM
MAXIMUM INTENSITY IN’ FOOT CANDLES AT CENTER OF BEAM WITH LAMPS
FILTEREO AS FOLLOWS:-
WHITE FLAME CARBON-ONE MT-Z AND ONE Y-l GELATIN FILTERS.
YELLOW FLAME CARBON - ONE Y-l GELATIn FILTER
FIG. 7 — Above table shows the light output of the “Brute”
lamp at various distances and for different beam spreads
with filtered white flame and yellow flame carbons.
466
American Cinematographer
August, 1955
CAREFUL CHOICE of light units will en¬
able the industrial film cameraman to
achieve high professional quality in
lighting his sets. Here, an eye light
placed at one side of the camera and at
the subject's eye-level, adds an extra
measure of sparkle to the doseup.
Scenes for commercial and indus¬
trial films, whether shot on the sound
stage or on location, demand the same
full lighting treatment that is given to
theatrical films. One important thing
that every producer and cameraman in
this field must keep in mind is that
-audiences who see commercial films are
accustomed to the smooth photographic
quality of theatrical films and quite
naturally expect to see that same quality
in any motion picture it is asked to view.
This, of course, throws a sizeable re¬
sponsibility on the cameraman assigned
to a commercial picture. Most camera¬
men know that the factor for which they
may be most easily criticized is the way
the players look on the screen; and so
the lighting of players is of utmost im¬
portance, even in the commercial film
where the camera is so often trained on
things rather than on people.
The primary factor to consider in
lighting players is that they be ade¬
quately lighted no matter where they
move about the set during the course of
action. This means that in the longer
shots, basic illumination must be con¬
sidered first. Generally, the cameraman
knows that he wants lighting in a certain
key, and he also has determined the lens
Set Lighting For
Commercial Films
By CHARLES LORING
aperture at which he would like to shoot
the scene. His next step is to add enough
general illumination to meet these con¬
ditions.
After he has watched a walk-through
of the action, he will be able to place
his lights so that the players will be well-
lighted no matter where the action takes
them. Banks of photofloods, broads or
large spotlights flooded out are the best
for general illumination purposes. Hav¬
ing placed these units, the spotlights
which give quality and modeling to the
players are added next. These include
additional lights for key illumination,
kickers, and top-lights or back-lights. In
a long shot, exposure is determined
(Continued on Next Page)
THERE is no set rule tor lighting close-
ups. Here is an example of exaggerated
lighting employed to accent a dramatic
high point — result of the cameraman's
individlal artistry.
American Cinematographer
August, 1955
467
EXAMPLE OF good standard lighting technique for a two shot. While the attention is
held on the players, orientation of locale is retained by keeping the background lit in a
subdued key.
DRAMATIC scenes in commercial films require that set lights be placed in such a manner
that the players will be well lighted no matter where the action takes them on the set.
Note here how lighting points up the secondary action within the scene — the waiter at the
bar in the background. (Both photos on this page from the 20th Century-Fox production,
“Under My Skin,” photographed by Joe LaShelle, A.S.C.
more or less by the intensity of the gen¬
eral illumination, and these modeling
units are balanced accordingly.
We have stated that the players should
be adequately lighted no matter where
they move on the set, but this statement
should be qualified. In low-key se¬
quences especially, the source lighting
indicated is often small table lamps
which throw light only from one direc¬
tion. In such a case it is quite proper
technique to let a player go into sil¬
houette or at least move into a more sub¬
dued type of lighting when leaving the
area covered by direct rays of the source
of light. This type of lighting is entirely
realistic and very effective when prop¬
erly executed in more dramatic se¬
quences.
The most important part of any dis¬
cussion of the lighting of players is, of
course, that which pertains to the close-
up. Here the cameraman must be espe¬
cially precise, since the closeup lens ac¬
centuates the lighting flaws which may
be present. The keylight in a closeup
should correspond, at least generally,
with the source established in the longer
shots. Some cameramen, if they have a
particular scheme of lighting in mind
for the closeup, establish this in advance
and then modify the general set lighting
to correspond in the long shots.
It is impossible to describe any one
setup as the right lighting for closeups,
since every subject and every situation
may require a different scheme; but
there is a basic lighting which the
cameraman can adopt to fit most re¬
quirements. It consists of placing the
key-light to one side of the camera, at
about a 45 degree angle to the subject
facing front. It should be placed fairly
well above the subject’s eye level and
pointed downward at him. The well
known junior spotlight makes an ideal
keylight for a closeup when set in this
manner.
Next, the fill-light is set. This is placed
on the opposite side of the camera in
such a position as to soften any shadow
cast by the key-light. The intensity of
the fill-light will depend upon the con¬
trast ratio which the cameramen feels
is best for the mood of the scene he is
filming. For color, a ratio between key
and fill of 1 to 2 is practically foolproof,
and a ratio of 1 to 3 will give a nice
modeling effect (especially on 16mm
Commercial Kodachrome stock). How¬
ever, unless you are after some special
effect, it is best not to exceed 1 to 3
when shooting in color. In black-and-
white, on the other hand, the sky is
practically the limit regarding ratio —
and even in normal lighting moods a
ratio of at least 1 to 4 should be used
to provide proper modeling.
After the key-light and the fill-light
have been set, the cameraman may add
(Continued on Page 492 )
468
A M F.R I CA N C.IN EM ATOGRAPH F.R
August, 1955
EASTMAN
PROFESSIONAL
MOTION PICTURE
FILMS
W. J. GERMAN, Inc.
John Street 6040 N. Pulaski Road 6677 Santa Monica Blvd.
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The Magnasync X-400 Recorder
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John Sutherland production “The
Living Circle’’ produced in the
jungles of Honduras. Sound was
recorded with Magnasync team —
X-400 recorder and G-924 mixer
by Mexican technicians.
Magnasync G924 Multi-Channel
Microphone mixer
Designed specifically for motion picture sound
recording this high-level four channel mixer fea¬
tures lightweight portability (19 lbs.), dialog
equalization on each incoming channel, master
gain control, built-in Microphone talk-back system,
and is engineered by and for sound engineers,
incorporating top quality components.
For the engineer who prefers a console mixing
operation, the G-924 Mixer units can be placed
side-by side.
Producer TSet Price $375.00
Director Larry Lansburgh, owner of
the Magnasync equipment, is
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Magnasync x-400 Recorder
Featuring extreme portability and economy, the
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ALL PRICES F.O.B. NORTH HOLLYWOOD, CALIFORNIA;
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1
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DEALERS
NEW YORK — Camera Equipment Co., 1600 Broadway, New York
19. JUdson 6-1420. Cable Address CINEQUIP.
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Guts, Vision— Crying Needs
To Rejuvenate Newsreels
Theatre newsreels need a face-lifting and injection of new
drive. They need fresh window dressing in the form of new
techniques and a renewal of every trick in the bag — com¬
petition, not cooperation with each other.
By CHARLES S. PEDEN
Charles S. Peden is a newsreel soundman for News of the Day and has been
since 1928. He is a man with faith and enthusiasm — faith in the medium
in which he works and enthusiasm for the journalism of the screen which he
believes is the greatest medium of communication devised by man. During his
career he has seen the great days of the newsreel, roaming the world and pic¬
turing it— from Fiji fire-walkers to the first air raid over Tokyo. And he has
seen and in fact worked in that, offspring of the screen newsreel, television news
coverage.
The article that follows was written for and published in Motion Picture Herald
(July 9, 1955 ) and because we believe that what Mr. Peden has to say will be
of interest to a great many of our readers, it is being reprinted here with per¬
mission.— Editor.
I have BEEN a newsreel man in the field
for more than 25 years. A career of
which I am very proud ; and a business
I love. There was a time when people
would stop us to ask about our adven¬
tures, and the inevitable question as to
what left us with our greatest impres¬
sion. And like my contemporaries I
would name some big story or spectac¬
ular catastrophe such as the crash of
the Hindenburg.
Nowadays, however, these same peo¬
ple only ask one question, “What hap¬
pened to the newsreels?” I would be less
than a good reporter if I answered other
than that rigor mortis is setting in. It is
the most bewildering and tragic thing
I have seen in my whole career.
I refer to the amazing attitude of both
the motion picture big brass and the ex¬
hibitors. They both raise their hands in
horror if asked to return the theatre
newsreel to its former great prestige and
popularity by added subsidies and rental
fees. Yet the former will devote hun¬
dreds of thousands of dollars to revive
old tired plots or build up recalcitrant
stars who have messed up things with
their idiotic didoes; and the latter, para¬
doxically enough, recognize news and
will spend fantastic amounts to rewire
houses for giant screen, closed circuit
TV shows of sporting events in the name
of public service. Remember that last.
Those of us who make and love the
newsreel know its value. The public
once held it in high esteem and would
embrace it quickly. Honest exhibitors
know in their hearts that it was a great
asset, an attraction people sought. And
most important, we live in a news-con¬
scious period as never before. Our edi¬
tors know it, too. Who goofed?
The thing becomes more incredible
when it is obvious that the great tele¬
vision networks consider their newsreel
pictures important enough to spot pro¬
grams all through the day. Famous com¬
mentators dress up the presentations.
Competition is keen. And in one case,
Edward R. Murrow's “See It Now”
show has won every honor a news pro¬
gram can collect.
This writer knows a little about that.
He was privileged to be on the staff of
“See It Now” for three and a half years.
Fred Friendly, the guiding genius and
producer of the show, knew what he was
doing when he came to the newsreels in
the beginning for his film organization,
equipment and personnel. Those of us
behind the camera knew a great hope
when he breezed in. Not for him the
short cuts. No dubbing, clipped versions,
etc. Despite much head-shaking, he de¬
manded actual sound — if for no other
effect than “presence” ; he wanted to
cover stories “back-of-beyond,” and he
was daring enough to bolster his beliefs
with out-size cash before his idea had a
sponsor. That is the sort of guts we op¬
erated under in the old days. No hill
too steep. No sand too deep. Good re¬
porters thrive in that atmosphere. He
demanded the works and got it. His
faith paid off.
Now any newsreel organization in the
business could have done the same
thing. The vision and know-how was
there. The courage was lacking. Costs
entered the picture at first. Yet, almost
a score of rinky-dink, shoe-string TV
producers will beg, borrow and steal to
finance a pilot film of some chancy show
because they have faith. The newsreel
had everything else — worldwide organ¬
ization, equipment, experience, and men
willing to try anything.
Actually, with all due respect to Mr.
Friendly, and the undeniable skill and
personality value of Mr. Murrow, news¬
reels in the old days did the same thing
when they frequently included certain
feature stories in their makeup.
Mark Twain once observed that there
is nothing so timid as a million dollars.
This seems to be the case so far as back¬
ing newsreel production nowadays. A
curious attitude that threatens to destroy
a great property. Even now, one by one
the top men behind the cameras, disillu¬
sioned and broken-hearted, are leaving
decades-old connections to join the ranks
of TV newsreel producers because they
know that the magic spark, so necessary
to good reporting, exists there — the
competitive spirit and drive.
Before making a few suggestions, this
(Continued on Next Page)
CHARLES S. PEDEN, News of the Day
sound man, in war-time regalia on
overseas assignment. In his article,
Peden makes plea for return of the real,
gutsy type of newsreel of yesterday.
American Cinematographer
August, 1955
471
NEWSREELS in the old days frequently included certain feature stories in their makeup,
such as the story of TVA and its effect on the native farmer, which cameraman Charles
W. Herbert, ASC, and his sound man recorded over a decade ago.
writer wants to get one thing straight.
He likes TV newsreels and accepts them.
But he doesn’t think theatre newsreels
should even attempt to compete as they
now do. The time element is too high a
barrier; and it will grow bigger when
pictures are transmitted via tape. The
theatre newsreel’s forte should be to
elaborate on these news briefs people see
at home. Build up the basic report so
that TV audiences will know that when
they go to a theatre they will see a
detailed version done entertainingly.
Only one good step has developed.
The older companies are producing
newsreel material for the TV networks.
But it would seem this can have its dis¬
advantages under the existing condi¬
tions. TV demands fast, brief and nu¬
merous subjects at the cost of quality
sound and pictures. That is understand¬
able and will improve in time. Unfor¬
tunately, in an effort to hit theatres
quickly, this sort of coverage is slopping
over into the original product. It seems
wrong.
TV cameramen are in very many
cases newer men, accustomed to the
silent hand camera techniques. It takes
years to develop a good sound newsreel
cameraman. The experienced ones should
be allowed to work on their medium
entirely. Let them develop better stories
with some meat in them, as they can
well do.
Never mind the man-on-street, off-the-
curb-opinion type of coverage in theat¬
rical newsreels. Show where that man
comes from, what he is doing, who he is
visiting. Who cares what politicians and
so-called oracles and others say about
world affairs unless they can make solid
statements? Let us see the thing in the
works. A complete story of the Salk Vac¬
cine from ring-tailed monkeys in Mada¬
gascar, to the injection is the sort of
thing that theatre audiences could un¬
derstand.
The old adage about the better mouse
trap is still good. This should be the mot¬
to of the theatrical newsreel. Make it
bigger, and better. Then exhibitors
would be happy to present the newsreel
in its former status as a feature of a
well-balanced program. Pay for it, too.
Sure, this thing will cost money. What
new and good thing doesn’t at first?
The men who make the newsreels are
dedicated to their work. All they ask is a
little encouragement and backing from
the top brass. They’ll come up with a
NEWSREELS trailblazed sound-on-film. With
the advent of sound there dawned a new
era for newsreels in which soundmen, like
author Peden, teamed up with ace camera¬
men to give voice to the revitalized "reels."
Pictured is one of the old Paramount Sound
News teams, identified only as "cameraman
Felbinger and soundman Robertson.”
class product. These men who once
roamed to the ends of the earth in
search of material, now operate on a
tether, a silver chain, almost inflexible
financially, that makes assignment edi¬
tors consult the tariff pages of time¬
tables, rather than fast schedules. A hell
of a note.
For these were the men of vision and
daring who sent their boys with Byrd to
the Antarctic, over the North Pole, into
volcanoes, through swamps and impene¬
trable jungles; the boys who okayed
chartered aircraft, boats, trains and even
dogsleds to get a story. And almost with¬
out exception their men came back with
epics. Stories that caught the public
fancy and made exhibitors paste one-
sheets outside their theatres.
Make the newsreel so good and big
exhibitors will cry for it and wave fresh
cash. They are seasoned showmen. They
know a good thing when they see it. Re¬
turn to the thousand-foot reel where a
man can sink his teeth into a subject
and tell a good yarn. Send those experi¬
enced men out again. Forget the in¬
clination to let local men with so-so
equipment take over assignments on big
stories.
Bandung is a classical example. That
distant meeting was no sweat for the old
days. This time it was left to local men
in most cases. Men who wouldn’t dare
poke a lens into some big wheel’s face
as old timers do. Here was one of the
world’s greatest international meetings,
a hallmark of world affairs. What does
anyone actually know about it? Mighty
little from the films released. They were
trivial by comparison with the past.
( Continued on Page 486)
472
American Cinematographer
August, 1955
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CONTEMPLATING the next camera setup for
“The Indian Fighter” is director of photography
Wilfrid Cline, ASC, (left) and director Andre de
Toth (right). Location, where entire picture was
shot, was in Bend, Oregon.
sits on a 4000-foot shelf of the Cascade
Moutains in central Oregon. Even dur¬
ing the months of May and June, when
the picture was shot, temperatures
ranged from 19 to 90, sometimes in a
single day. Even more important, moun¬
tain weather produces cloud formations
in great abundance. A sky can be bald
and blue one moment, and the next be
covered with fat floating clouds which
test the patience of both director and
cinematographer. It is sometimes impos¬
sible to match scenes shot a day pre¬
viously or even an hour earlier. Multiply
Hollywood’s plague of overflying air¬
planes by twenty and you have some
idea how bothersome clouds can be, ac¬
cording to Cline.
But it was just here that de Toth’s
attitude became fairest. Having chosen
the locations himself, he was first to do
something about meeting their condi¬
tions. He took the clouds as they came.
So, far from being dismayed by an over¬
cast day, he declared it to be exactly
what he wanted, and that the pioneers
about whom the story was related “prob¬
ably had a lot of them.”
Locations had been sought, as a mat¬
ter of fact, from the Black Hills to
Mexico. Nothing suitable, weatherwise,
was discovered until the country around
Bend was investigated. The story was
an Oregon Trail narrative, and it seemed
eminently suitable to film it in Oregon,
when the locations were finally settled
INTERESTING use of sunlight reflectors for throw¬
ing light into vast shaded area of a scene, is
shown here. Cinematographer Cline used the
reflectors for almost every exterior shot.
PICTURE ON LOCATION
In shooting “The Indian Fighter” on location
near Bend, Oregon, almost every scene posed
a lighting challenge for Wilfrid Cline, ASC.
SHOOTING THE ENTIRE
WHEN a PICTURE must be photo¬
graphed under new and unusual
conditions, a flexible-minded director
can be as great a factor as any other in
aiding the cinematographer, according
to Wilfrid Cline, A.S.C., who recently
completed filming “The Indian Fighter”
entirely on location in Bend, Oregon.
Director Andre de Toth, who directed
the first independent for Kirk Douglas
and his Bryna Productions, chose the
locations himself, and was therefore will¬
ing to take full responsibility for helping
meet the photographic problems which
arose out of their use.
There was, first, the weather. Bend
upon, even though the chief antagonists
of this Indian fighter were Sioux, and
no Sioux ranged in numbers that far
west.
The chief obstacle to the Bend loca¬
tion was that Bend had no frontier fort,
and one of these figured largely in the
story. Bend s enterprising Chamber of
Commerce, hearing of this, came up
with a practical suggestion : it would
build the fort, and build it bigger, bet¬
ter, and more substantially than any
frontier fort had actually been. Bend
might rent it for future films, and it
would be a big tourist attraction be¬
tween pictures. It was settled that way.
But because Bend wanted to keep the
fort, and because other pictures were to
be made there, it had to be built solidly,
to resist Oregon’s eight months winter.
This posed at least two problems with
which cinematographer Cline was in¬
stantly and directly concerned. It meant
there would be solid roofs and walls
which would make camera angles and
overhead lighting almost out of the ques¬
tion; and it meant new-cut white ends
of the 5000 lodge pole pines used in the
construction would have to be made to
look old.
Again deToth intervened. He changed
the script to make the story indicate that
the fort had just been built or was still
in construction. The white ends of the
logs now fitted the story.
Indoor-outdoor scenes in the solidly
constructed buildings inside the fort
were more difficult, but had to be solved.
No scenes were to be shot on Hollywood
sound stages; everything must be fin¬
ished on the location. Untreated log in¬
teriors had to be treated, so to speak,
in the camera. They couldn’t be painted.
Cline made an 85 filter do for the in¬
door-outdoor shooting, using mazdas in¬
side, placed wherever possible. Lights
couldn’t be put overhead, and it was
impossible to knock a hole through the
solid walls to place them there.
Here Cline pursued a daylight shoot¬
ing technique, a sort of documentary
photography, different from anything he
had ever done in his long motion picture
career; but it was surprisingly success¬
ful. Cline doubts if anyone ever shot a
picture this way before, unless maybe
the early Russians, with their penchant
for realism, made a few. But it is a
method of picture-making which he be¬
lieves can be investigated with profit by
Hollywood’s independent picture mak-
( Continued on Page 488)
THREE PHOTOS at right illustrate the effective lighting
achieved in natural interiors that provided no wild
walls, etc., for lighting equipment and camera mo¬
bility. Top and center photos depict scenes shot inside
fort at Bend, Oregon. Lower photo illustrates effective
lighting achieved in confined quarters of an Indian
tepee for “The Indian Fighter."
American Cinematographer
Aucust, 1955
475
ELEVEN CINE-SPECIAL 16mm cameras moulted on a circular base form the photographic
unit for Circarama. Here cameras are being made ready to photograph a sequence for
American Motors’ display at Disneyland.
Eleven Cameras For Circarama
Walt Disney’s engineers develop novel system
for shooting movies for Disneyland display.
By LEIGH ALLEN
Circarama, an advance motion pic¬
ture development consisting of a
continuous image focused on a full 360
degree circular screen, was one of the
outstanding innovations introduced at
Disneyland Park, Anaheim, California,
when it opened to the public last month.
There, Circarama is a free attraction in
American Motor Corporation’s exhibit in
the Tomorrowland area of Walt Disney’s
amusement park.
Hailed as a step forward in the mo¬
tion picture art, Circarama consists of a
synchronized battery of Eastman 16mm
model 25 sound projectors which sim¬
ultaneously project color and sound
movies on 11 individual screens ar¬
ranged in a complete circle. It con¬
stitutes the first known application of
color and sound pictures to the circular
screen. (It had been accomplished with
black-and-white and silent films about
forty years ago for a world’s fair ex¬
hibit.) Spectators, standing in the
middle of a specially-built theater, view
the continuous action on an overhead
screen eight feet high and 40 feet in di¬
ameter, which completely encircles the
audience.
The method of making films for Cir¬
carama and the camera setup is a most
interesting development. Eleven Cine-
Special 16mm cameras are mounted on a
circular baseplate and are so arranged
that they cover a 360 degree view in
eleven sequential segments. No effort is
made to have the image area match up
with that of the adjoining cameras, as
is done in Cinerama. Instead, there is a
space of several inches separating each
segment of the projection screen, and
each camera is pre-focused to exactly
cover the area of its corresponding
screen. The narrow spacing between
(Continued on Page 485 )
HERE the eleven Cine-Specials are being centered on their respective
targets and bolted in place on the base plate. The synchron¬
ous motor drives were added later. Supervising work is engineer
Eustace Lycett (left) and cine technician Richard Van Every.
PHOTOGRAPHIC crew on location in Monument Valley, Arizona,
set lenses of the eleven cameras for focus and exposure prior
to starting the photography of a sequence of scenes for the
Circarama display for American Motors’ exhibit at Disneyland.
476
e
American Cinematographer
August, 1955
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ERWIN HARWOOD
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IN RECORDING a sound track of commentary for a film, it is important not to
restate in words what the picture shows on the screen. With many scenes, it is
better to remain silent unless somethtting informative can be added.
Say Something
Extra With Sound
When picture and sound track are
both saying the same thing, one
of them is being wasted.
By HAROLD BENSON
ture is far better than sound which only
restates the visual. This use of sound
does not involve quite such exact syn¬
chronization as the more conventional
method, which makes it all the more
suitable for amateur experiments.
Travelogue commentaries are the sim¬
plest examples of this technique. The pic¬
ture shows, say, an unusual church in
Westminster, London. The commentator
says, “Queen Anne is said to have
thrown a foot-stool at her architect in a
rage. Looking at it as it lay upside-down
on the carpet, she demanded that he
Silence OR SOUND ? Ask any amateur
which he prefers and there’s little
doubt about his answer. Tape, stripe or
optical tracks seem to he regarded as the
answer to every cine worker s prayer.
Yet too often many amateurs adopt
sound before they’ve completely learned
the essentials of silent film making. As
for exploiting the silent medium to its
fullest extent, I’m inclined to think that
it’s never yet been done either by ama¬
teur or professional.
Look back to the late twenties and
study the productions made just before
the advent of sound. No matter what na¬
tionality the film you choose, you’ll find
plenty that is lively, vital and fresh. Ex¬
periments were continually being made
then, and new ideas were encouraged.
But sound came along before the pro¬
fessional was able to explore all the po¬
tentialities of the silent screen; and al¬
most overnight the experiments were
abandoned in the eagerness to cash in on
the sound track.
How strange it is that hardly any ama¬
teurs have tried to continue from where
the professionals left off. Instead, most
silent productions today are either rem¬
iniscent of the very earliest days of the
cinema or merely look like mute versions
of sound films. The amateur who con¬
centrates on innovations in silent tech¬
nique is rare indeed.
As a result, experiments in sound are
ever rarer. Conservatism in silence is
bound to produce conservatism in a
sound-track. Hardly one in a thousand
film makers seem to realize that if pic¬
ture and track are both saying the same
thing, one of them is being wasted. This
is the reason for the alarming prepon¬
derance of film commentaries which only
state what is visually obvious, dialogue
which merely underlines the situation,
and music which drives home every
point with disconcerting force.
Sound can add a new dimension to
amateur films. It never has quite the im¬
portance of the image, simply because
the majority of people are more sus-
ceptable to visual than to aural impres¬
sions. But that hardly limits its effec¬
tiveness, provided it is used with imagi¬
nation and, equally important, discre¬
tion.
The perfect sound film — amateur or
professional — has yet to be made. But it
has been clear for many years that sound
used as a kind of counterpoint to the pic¬
build her a church the same shape. This
is the result.”
(Continued on Page 492)
THIS IS the type of amateur movie scene which too
often is described in commentary as: “Here is an In¬
dian weaving a Navajo rug.” That we can plainly
see; what the commentary should tell is some in¬
teresting unseen fact about the subject or place.
478
American Cinematographer
August, 1955
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^he advantages of carbon
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This new carbon nearly ou
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Here, again, National Carbon’s
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by the company’s long associa¬
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making, have paved the way
to substantial production
economies without compro¬
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Amateur
CINEMATOGRAPHY
THE FOCORECT consists of a system of lenses coupled with a
miniature rangefinder. It is secured to camera lens by means
of thumbscrew (1). User sights through orifice (2) and turns
focusing ring (4) until images gathered at (3 ) coincide.
Rotating ring (4) automatically focuses the camera lens.
The coupled range finder today is considered one of the
most important features on a good still camera. It simpli¬
fies the matter of determining and setting focus and thus
insures sharp results on just about every shot.
It was inevitable that the principle of the coupled range
finder would eventually be adapted to cine cameras. It
remained for Herman Schneider & Co., of Hamburg, Ger¬
many, to develop just such an accessory. Tradenamed the
“Focorect,” it was introduced with high success at the Photo¬
kina (photographic show) recently held in Cologne.
For the cine cameraist, whose style of shooting for the
most part is a good deal on the order of the snapshooting
still photographer, a coupled range finder can insure the
same consistency of sharp focus, shot after shot. The pro¬
fessional cinematographer who works with an assistant or a
crew has little need for such an accessory because of the
practice of running a tape before focus is set on each take.
The “Focorect” is a universal accessory for use on all cine
camera (other than those having a fixed focus lens) with
lens-mount diameters of 23mm to 32mm inclusive. It is
merely attached to the front of the lens in the same manner
as a color filter. A range of interchangeable adapters assures
a proper fit on all camera makes and models.
Before the Focorect is attached, the camera lens is set
at infinity. Then the “Focorect” is slipped over the lens and
secured in place by tightening a knurled thumbscrew. There¬
after, all focusing of the lens is done with the aid of the
r ocorect range finder now coupled to the lens.
The range finder section of the “Focorect” is usuallv
mounted at an angle, as shown at right, to permit easy
A Coupled Range Finder
For Cine Cameras
Unique gadget, when attached to
camera lens, automatically takes
over the function of focusing.
By ALVIN D. ROE
viewing of the finder image. The user sights through the
orifice (2) Fig. 1, and turns the focusing ring (4) until
the outlines of the subject in the measuring field of the range
finder coincide. At this point the exact distance of the sub¬
ject to be photographed has been found and the camera lens
automatically focused upon it. At no time is the focusing
ring of the camera changed from its original infinity setting.
The focusing range extends from 3y2 feet to infinity. An
added feature of the “Focorect” is a depth of field scale
attached to the back of the standard model.
The “Focorect” consists of a system of lenses coated on
all surfaces which takes over from the camera lens the com¬
plete function of focusing. The result is the automatic and
continuous coupling of the range finder. The instrument
has an unusually large and bright measuring field which,
even when seen at a distance of six inches, allows exact
control of the movement of the outlines and their final
coincidence.
(Continued on Page 491)
THE FOCORECT ' mounted on a Bolex camera. The instrument
is adaptable to all cine cameras having lenses in focusing
mounts and lens mount diameters of 23mm to 32mm inclusive.
480
American Cinematographer
August, 1955
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THE FILMING OF “FORBIDDEN PLANET’
( Continued from Page 460)
Permits continuous 400 ft. run of 16mm film —
the 200 ft. daylight loading spool may be used
in the 400 ft. magazine. The 100 ft. spool can
be used in the cameia without removing ex¬
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solution was achieved by painstaking
effort in changing position of the set
lamps and by careful masking until the
desired result was obtained.
Much of the set materials was also
reflective with the result that we con¬
tinually picked up reflected light around
and in back of people. Here, again, the
obnoxious bouncing light was neutralized
by studied placement of set-lighting
units.
When it came to shooting scenes in
the control cabin of the space ship, we
encountered a fresh new batch of prob¬
lems. The cabin was a maze of radar
screens and luminous dials, blinking and
vibrating. We had to carefully control
our lighting here so that some instru¬
ments would not shine too brightly while
others would shine through the darkness
and not be lost on the screen.
The real lighting and photographic
creation for this production, however,
was the weird and spine-tingling invis¬
ible monster that creeps into the control
center late at night while the crew sleeps
soundly in their bunks. While this was
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something of an effect, it had to be cre¬
ated with light and given a semblance of
form. Through an arrangement of spe¬
cial lighting, shadowing and use of col¬
or, we produced a most unusual effect on
film. And by using several well-estab¬
lished photographic techniques, such as
shooting from a moving camera crane
elevated to a height of ten feet, the effect
achieved was that of showing the scene
as seen from the giant monster’s eyes.
There were more challenging prob¬
lems awaiting us when we moved over
to the immense space ship set on stage
15. Supplementing this set was an enor¬
mous painted cyclorama, 350 feet in
length, hung in the background. It was
here that particular care had to be given
set lighting — first to make sure that the
light source direction matched exactly
the lighting depicted in the painted cy¬
clorama. Any error here would easily
suggest where the constructed set left off
and the painted backdrop began.
Here we used forty of the M-G-M-de-
signed Skylights, each holding ten 1000-
watt photo lamps. These were augmented
by 96 10, 000- watt K-lO’s and 192 K-5’s.
Auxiliary power lines were run in from
adjoining sound stages to furnish the
unprecedented current load for this vast
array of lighting equipment.
On this set, I encountered several
lighting problems which were not easy to
solve. First, the silver finish of the huge
space ship reflected light like a mirror.
Secondly, we encountered difficulty in
silhouetting the saucer edge against the
sky because the sky in the background
was dark green above, graduating to
light green toward the horizon. We
couldn’t light from below the set be¬
cause it would reflect; our final solution
was to hide an occasional “Senior,”
Junior or “Midget ’ lamp behind con¬
venient set elements and props, thus
lighting the saucer from the interior of
the set itself. I think this was perhaps
one of the most interesting set lighting
problems I have ever been called upon
to solve.
Still another problem was that of
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482
American Cinematographer
August, 1955
shooting scenes on this set at night, when
the backgrounds had to emphasize a pro¬
nounced eerie tone. In one of the night
sequences, the invisible creature attacks
the flying saucer and its crew while un¬
dergoing a barrage of tracer fire from
atomic weapons. I illuminated the lonely
desert setting with 500 foot candles as
effect in the foreground and put 54 foot
candles of light in the background. We
had to imagine the monster, how bright
he blazed, and how undulating his fiery
outline would reflect around him. Much
of the desired effect was achieved by
putting colored filters over the arcs. In¬
cidentally, red is not the easiest color to
reproduce, and an invisible villian not
the easiest to record on film. So it was
difficult to get a perfect take of Nothing!
To effectively photograph scenes indicat¬
ing the approach of the invisible monster
as he headed directly for the camera, I
employed 62 10,000-watt arc lamps and
32 K-5’s to light up the mythical plane¬
tary desert with absolutely no one vis¬
ible. The effect of the monster’s ap¬
proach was achieved by changing the
lighting in a pre-determined pattern, us¬
ing venetian-type shutters over each arc.
Several onlookers on the set said they
actually felt the invisible visitor pass in
front of the camera, so realistic was this
lighting effect.
Another elaborate set for “Forbidden
Planet” was the electronics laboratory.
This required 50,000 feet of wiring,
2500 feet of neon tubing, and 1200
square yards of plexiglass in its construc¬
tion. To achieve precise lighting on this
set during shooting, a staff of 15 elec¬
tricians handled 110 separate switches
on a giant control panel.
Ever-present light reflections con¬
tinued to plague us on this set, too ; but
by this time we had gotten down to a
fine science the technique of changing
the light and dulling bright surfaces
with wax to lick the problem.
On the lab set we shot one of the long¬
est scenes ever filmed in CinemaScope.
It ran continuously for 9*4 minutes and
entailed more than six pages of dia¬
logue. In one single unbroken take more
than 1300 words were spoken while our
camera, mounted on a mobile crane,
made 16 different moves on cue, short-
cutting the necessity of having to make
an equal number of separate setups.
It was on this set, too, that we photo¬
graphed one of the production’s most ex¬
citing sequences when the diabolical
monster, in a spine-chilling climax,
breaks through four huge steel doors to
face its creator, Dr. Morbius.
One of the largest sets for the picture,
and one on which a great deal of impor¬
tant action takes place is the “House of
Tomorrow,” the residence of Dr. Mor¬
bius and his daughter. In erecting this
set, novel use was made of glass, metal,
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American Cinematographer o August, 1955 •
483
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plastics and synthetics. The structure
was erected on slender V-shaped legs
that gave it the maximum of substantial
support with minimum of material.
La rge, built-in screens of fine gold mesh
separated the various rooms. The living
room was divided by large panels of
clear lucite. Most of the ideas that went
into the design of the house were not
based on phantasy, but are an extension
of current thought, both architectural
and electronic. Nevertheless, it all pre¬
sented a host of new lighting and cam¬
era problems, creating a constant chal¬
lenge to the photographer.
The entire photographic crew that
worked with me is especially deserving
of credit, particularly for the precise
coordination of all hands, and the effici¬
ent, smooth way they worked when we
had a problem to lick. Especially is this
true of Irving Reis, ASC, and Max Fab¬
ian,, ASC, for their wonderful coopera¬
tion and help in the execution of the
optical and photographic effects for the
production.
Incidentally, “Forbidden Planet” is
not my first encounter with a science-fic¬
tion production. “Way back” in 1922 I
photographed a thriller for Biograph Stu¬
dios in New York titled “The Man From
Mars, featuring unearthly creatures
with huge heads and gleaming talons. I
shot the production in black-and-white
in a “new” process they called 3-D! I
recall that most of the picture was shot
at a stop of f/8, and without the benefit
of an exposure meter.
“Forbidden Planet” in color and Cine-
maScope is a far cry from this early
Biograph production. For me it has been
one of the most “off-beat” camera as¬
signments I have ever undertaken since
joining the M-G-M camera staff in 1932.
YELLOW FLAME CARBONS
(Continued from Page 466)
and even then last minute changes would
have to be made to balance reflectivity
of costumes, skin textures, etc. Never¬
theless, on sets where a great amount of
electrical energy is to be used, pre-light¬
ing will give the director of photography
an opportunity to arrange his lamps so
the maximum illumination possible
reaches the film.
Figure 7 shows the light output of the
"Brute” lamp at various distances and
for different beam spreads with filtered
white flame and yellow flame carbons. It
represents a sample of the type of infor¬
mation which may result if pre-lighting
time allocation is allowed so the director
of photography and chief set electrician
may develop lighting techniques which
will provide the maximum practical utili¬
zation of the equipment.
At no time in the history of the busi-
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AMERICAN
CINEMATOGRAPHER
484
American Cinematographer
August, 1955
ness has studio management shown such
an interest in the problems of adequate
set lighting as at present. Requests, even
demands, are being made that the manu¬
facturers of equipment and supplies in¬
crease efficiencies of their products. The
yellow flame carbon is an answer to these
demands from the standpoint of a more
efficient tool, but it is up to the cinema¬
tographer to see that the maximum of its
energy reaches the motion picture film.
CIRCARAMA
(Continued from Page 476)
panels is scarcely noticeable to some,
while to others it appears as a series of
fence posts or columns intersection the
view, the phenomenon! of persistence of
vision also enters into the illusion.
The camera and projection devices de¬
veloped for Circarama represent the
combined research work of technicians
from the Disney Studios, Eastman Ko¬
dak Company, and the Ralke Company
of Los Angeles. The final engineering
was supervised by Roger Brogge and his
assistant, Eustace Lysett of the Disney
engineering department. The circular ar¬
rangement of the eleven Cine Special
cameras may be seen in the accompany¬
ing photos.
Why eleven cameras, instead of six,
seven or eight? Several factors deter¬
mined this; the chief one was the man¬
ner in which the films were to be pro¬
jected. Instead of arranging the projec¬
tors in a circle in the center of the audi¬
torium, similar to the camera arrange¬
ment, they are set up behind the screen
with the lenses pointing through the in¬
terstices between panels to the screen di¬
rectly opposite. This arrangement re¬
quired the use of an odd number of pro¬
jectors. It was then found that using
eleven projectors would reduce screen
curvature to a minimum — essential to
eliminate distortion.
Each camera is driven by its individ¬
ual electric motor — a 24-volt war sur¬
plus aircraft actuator motor adapted for
the purpose. Each motor is mounted be¬
low the camera base plate and is con¬
nected to the camera drive shaft through
an arrangement of gears and shafts.
Complete synchronization is maintained
between the camera by an ingenious ar¬
rangement of sprockets and a chain link¬
ing all eleven motor drives. Starting and
stopping the cameras is by remote con¬
trol switch.
When shooting a subject or scene, all
camera lenses are preset for uniform
focus and exposure. Some photographers
have suggested that the exposure setting
for cameras shooting toward shade
should be different than those on the
cameras covering brighter areas. But
for color it’s
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American Cinematographer
August, 1955
485
CINEKAD
JUNIOR TRIPOD DOLLY
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Dolly can be used with any professional or
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The tripod is fastened firmly to the dolly
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The special individual caster locking system
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the dolly to track in a straight line for
rolling dolly shots.
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tests proved that uniform settings pro¬
duce the uniform screen results neces¬
sary for segmented screen projection.
Pre-production tests also disclosed that
15mm lenses were proper for shooting
the area taken in by each of the eleven
cameras, and at the same time give best
results with the special lenses required
for the projectors. The 15mm camera
lens covers the field with a slight over¬
lap, which is masked off in the pro¬
jectors.
In the lower left hand photo (page
476) Lysett and his assistant are shown
centering the cameras on the circular
base plate. For this phase of the work,
a circular target 150 feet in diameter
was set up on the Disney lot in Burbank.
The cameras were set up in the center,
each focused on its respective area on
the target, then locked in place. Each
camera is mounted on a separate base
plate which in turn is mounted on the
circular plate, and provides micrometer
adjustment of the camera left or right to
simplify the centering procedure.
Centering each camera was done
through the camera lens, using a ground
glass and a magnifier. Because use of col¬
or film calls for filters over the lenses,
special matt boxes had to be built and
installed on each camera to keep the sun
away from surfaces of the filters when
shooting out of doors.
Although not intended for theatre use
at this time, Circarama, clearly could be
employed theatrically for super-wide¬
screen productions in appropriately-con¬
structed theatres. ’ END
STANCH-
/ -4©
/92I N. Highland Hollywood 38, Calif.
NEWSREELS
(Continued from Page 486)
This is the timidity that is turning
into rigor mortis. A stifling, frustrating
atmosphere. The public doesn’t remem¬
ber news that springs from restrictions
dull, factual news. It remembers color
and spirit. Circulation was built on the
daring things. Stanley’s trek to Africa
in search of Livingstone was the big
story, not the final report. The way
Floyd Gibbons covered a yarn was what
caught people’s imagination and made
them look for more. When an atmos¬
phere of daring pervades a news shop it
rubs on the men and gets into the story.
That devil-may-care, to-hell-with-the-ex-
pense-account coverage that makes the
auditors cringe, but the public applaud,
and the cash registers sing.
Newsreels need a face-lifting and in¬
jection of new drive. They need fresh
window dressing in the form of new
techniques and a renewal of every trick
in the bag — competition, not coopera¬
tion with each other. Individual treat¬
ment and coverage, not roto coverage.
The sort of backing that makes a world
personality welcome interviewers be¬
cause he knows he is going to get a big
deal. Integrity in news reporting de¬
pends on such things, not short cuts or
haste.
Sure, this treatment would cost money.
But think of the impact of occasional
premium shots such as the Kentucky
Derby, a national flower show, a regatta,
a big football classic. Not in terms of
cash, but prestige. TV does it when they
sustain great shows, or present giveaway
programs to hold a dialer’s attention for
one-half hour. The motion picture in¬
dustry, with all of its fabulous assets
and talents, can afford to do no less
these days. The handwriting is bright
and vivid on the face of millions of tele¬
vision tubes.
Finally, the newsreel business must
begin to think in long range terms if it
expects to attract new blood. The pres¬
ent atmosphere would scare away new
talent. Electronics has only been scratch¬
ed movie-wise; and may well solve all
problems. Even put the industry on a
happy, money-making basis.
Every big business from plastics to
motor cars recognizes this policy of ear¬
marking certain sums for research and
constant improvement to hold patrons
and keep their trade marks before the
world. Newsreels trail-blazed sound-on-
film and were the best advertisement
any motion picture producer ever had.
Here is what is on the horizon. Two
years will see a practical and economical
system of recording and transmitting
motion pictures on magnetic tape.
The first newsreel company to adopt
this system will become the unchal¬
lenged leader in both theatre and TV
fields. A money-making outfit guaran¬
teed to bring prestige to its sponsors.
Think of it. A newsreel, or newstape
if you will, crew will cover a story on
location, and transmit the sound and
picture direct from source to key stu¬
dios. There, the basic story will be re¬
recorded on a storage tape or processed
immediately just as directors and mon¬
itor men now do with live TV pickups.
Experienced men will sit at master con¬
soles and edit, add vault cuttins, proper
music, commentary (scripted from tele-
honic information at the news site),
even include pre-taped titles. Then, in
turn, the finished clip will be re-trans¬
mitted direct to theatres and TV stations
for immediate release or storage tapes
untd specific spots allow for release.
FUtimately, there will be a vast inter¬
flow of news picture material exchanged
between network facilities, just as news
eopy is transmitted to newspapers via
tele-printers. This is a whole new in¬
dustry the great wire services may do
well to investigate.
486
American Cinematographer
August, 1955
And it goes without saying that news¬
reels will have to adopt the newer sound
recording techniques of tape and strip
film just as production has done. The
public isn't going to stand for the violent
contrast between Hi-Fi sound on fea¬
tures. and standard recording.
Other new electronic gadgets will be
used; just as some TV productions al¬
ready are playing with the midget, wire¬
less microphone. Its possibilities are
many in news work. A newsreel contact
man wearing one of these could pick up
the direct orders of fire marshals or
other leaders of rescue teams during
catastrophies. Football coaches harangu¬
ing their teams; jockeys urging on their
mounts. All the things spectators have
not yet heard. Those “premium” touches
that point up stories.
Some smart outfit will start the ball
rolling one of these days. I hope it is
mine. One good beginning would be to
establish definite liaison between film
producers and the electronic labora¬
tories, so that both could know each
others’ problems and ideas.
Let’s not get sand-bagged again, as we
were 25 years ago because apathy and
short-sightedness plugged ears when a
synchronized disc transcription and a
projector clarioned the end of an era.
Those of us who went everywhere and
risked everything to build up newsreel
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age, slack buildup, automatically compensates for film
elongation.
NEW COMPLETE DAYLIGHT OPERATION! No dark¬
room. Removable daylight magazine.
NEW QUALITY THROUGHOUT! Heavy gauge stainless
steel tanks. Filtered air intake.
Filmline leads the field in engineering and manufacturing standard and cus¬
tom 16- 35- 70MM b & w and color film processing machines of all types.
CRAIG BIG SCREEN MOVIE VIEWER
No need to darken the room when
you use this brilliant big screen
Craig Movie Viewer. Ideal for
viewing or editing motion pictures
or TV films. Easily set up with
Craig or other standard rewind¬
ing equipment. Craig complete
editing equipment is made in two
models :
CRAIG PROJECTO-EDITOR— Portable
motion picture viewer and editing
outfit weighing 10y2 pounds. Con¬
sists of Craig Viewer illustrated
• Large (3y4 x 4% in.) hooded screen
• Flat field projection lens and
ground & polished condenser lens
• Rotating optical prism shutter
• Stainless steel film guide
• Left to right film travel
• Automatic lamp switch
• Built-in frame marker
• Focusing and framing adjustments
• 75 watt projection lamp
49.50 for 1 6 mm. or 8 mm. model
above, Take-up and Rewind Reel
Spindles, Craig Master Splicer,
Craig #7 Film Cement, and Carry¬
ing Case. 16 mm. or 8 mm. model,
$79.50 complete.
CRAIG PROFESSIONAL EDITING
EQU I PM ENT— Consists of Craig
Viewer, Craig Master Rewinds
which accept 2000 foot reels, Craig
Master Splicer, hardwood mount¬
ing board, and Craig Formula #7
Film Cement. 16 mm. model only,
$79.50 complete.
Write for illustrated literature, KALART, PLAINVILLE, CONN. DEPT. AC-8
American Cinematocrapher
August, 1955
487
BIG SAVINGS
mg
(j|-
Factory Re-built
HOUSTON K-IA
FILM PROCESSORS
Chance of a lifetime to buy one of
these top quality Houston processors at
far below cost. Completely self-con¬
tained. Daylight operating. Automatic¬
ally processes 16mm black and white
reversal motion picture film. Easy to
operate. Produces fine results. Factory
re-built and guaranteed by the original
manufacturer. Also available “as is”.
Limited supply. Write for catalog and
prices today.
HOUSTON FEARLESS
Div. Color Corp. of America
11801 W. Olympic Blvd.,
Los Angeles 64, Calif.
PELLEGRINI
VARIABLE SHUTTER UNITS
FOR THE BOLEX H-8
AND H-l 6
The real an¬
swer to com¬
plete FADES
and LAP DIS-
SOVLES. Faster shutter speeds
and many other advantages.
Prices for both the H-8 or H-l 6
within U. S. $99.60. Cameras
with outside frame counter
$109.80. Tax extra. One year
guarantee and camera trans¬
portation back included. Send
for free informative booklet.
Prices subject to change
without notice.
TULLIO PELLEGRINI
1545 Lombard St.
San Francisco 23, California
MOVIE EQUIPMENT NEEDED
to photograph patients at
Veterans’ and Army Hospitals
Any type 16mm new or used movie equipment needec
tor this charitable purpose.
All donations acknowledged; all are tax deductible
Send to:
MOTION PICTURE DRIVE — B’nai B’rith
126 Brandon Drive, East
San Antonio 9, Texas.
^rlUTERS
In World -U)ick Uss
Produce moonlight and night effects
in daytime « fog scenes* diffused focus
and many other effects.
Information mailed on request.
SCHEIBE FILTERS COMPANY
ORIGINATORS OF EFFECT FILTERS
S-°- lex 44834, Hellyweed 44, Calif.
prestige willingly gave of all our talents
and time to make a dream come true.
Those who handle the purse strings, hold
the ultimate fate of a great industry in
their hands. W e are ready, willing, and
able. And are waiting for some daring
guy to come along and slash the ropes.
The whole newsreel business needs a re¬
newal of faith and the same sort of
vision and guts it asked of every man
who ever covered a story.
Anyone for competition?
SHOOTING THE ENTIRE PICTURE ON LOCATION
(Continued from Page 475)
ers, who will be moving farther and
farther from studio work as they pro¬
gress.
The fort was the chief problem for
cinematographer Cline, but it wasn’t the
only one. Rural electrification lines run¬
ning through the Oregon forests are of
aluminum color, and, unless painted
over with black paint, can be seen for
miles. When it is understood that these
lines carry 69,000 volts, it can be seen
what a problem even this small item pre¬
sented. Men were hired from the electric
companies to come out with glass ladders
and insulated “shotgun” poles to do the
painting. In the end more than five
miles of these wires had to be painted
to make them invisible to Cline’s cam¬
eras.
River crossings over fords in the
lushing Deschutes and Crooked Rivers
with sometimes more than 25 Conestoga
wagons had to be solved cinematograph-
ieally. And shots which were to include
foaming Benham Falls as background
finally necessitated blasting a log jam
out of the river with dynamite if the
proper effect was to be gained. De Toth,
without hesitation, had men float boxes
of dynamite down into the jam and
blew it out of the water.
The director also asked Cline for, and
got, 360-degree shots of settlers on their
way across the forested mountains, of
square dances in the fort, and of en¬
campments along the route. Wherever a
shot wasn t feasible without a script
change, the script was changed. Often
older ways of doing things were dis¬
carded in the face of necessity to get
the job done under existing conditions.
Studio means and methods simply didn’t
exist here.
One of the most difficult shots of all
required Cline and his crew to lower
cameras, lights, and reflectors over a
sheer wall of rock to photograph Douglas
and his leading lady, Elsa Martinelli,
swimming the 36-degree Deschutes river.
Three takes only were allowed and then
the actors, blue with the cold, were
pulled out of the water and rushed to
Kodak Announces Tri-X 16mm Reversal
The Availability of the high-speed
Kodak Tri-X emulsion on 16mm re¬
versal film has been announced by the
Eastman Kodak Company.
As a 16mm reversal film the Kodak
Tri-X, is expected to find immediate
acceptance by commercial, television,
industrial and sports cinematographers
because of its increased speed and sensi¬
tivity which have been achieved with no
corresponding increase in graininess.
The new film will be known as Cine-
Kodak Tri-X C-P Reversal Film. Pro¬
cessing will be done by the purchaser or
through independent 16mm processing
laboratories. With only minor sacrifices
in speed and graininess, the film may
also be used to yield negative images.
The daylight exposure index of the
Tri-X Reversal Film is 200, tungsten in¬
dex 160, making it particularly suitable
wherever adverse lighting conditions
may be encountered. It will withstand
somewhat higher processing tempera¬
tures than Kodak Super-XX C-P Revers¬
al 1 ilm, and possesses sufficient exposure
and development latitude to permit its
use at speeds higher than its normally
rated speed under some circumstances.
The film provides improved tonal repro¬
duction with ample detail in both high¬
lights and shadow areas.
Although the film is extremely sensi¬
tive to light, it can he used in a camera
with fixed shutter speeds for bright sun¬
light scenes by placing a filter over the
camera lens. A Kodak ND-3 Filter, cut¬
ting down brightness by three stops, can
be used for this purpose. As an alternate,
the Kodak Wratten X2 Filter which re¬
sults in little change in the monochro¬
matic rendering of colored subjects, can
be used.
Cine-Kodak Tri-X C-P Reversal Film
is available in 100- and 200-foot spools,
and in 400-foot rolls for darkroom load¬
ing, either double perforated or perfor¬
ated one side. It is also supplied on spe¬
cial order spooled for the Kodak High
Speed Camera or 16mm Fastax Camera.
Price of the 100-foot roll on camera
spool, without processing, is $4.85.
488
American Cinematographer
August, 1955
FRANK C. ZUCKER
Film Editing Made Easy
with NEW
professional
film viewer
35mm Model $375
Every film editor will appreciate a
viewer that enables him to view
his film from left to right — on a large,
brilliantly illuminated screen.
The Professional Film Viewer makes
film editing a breeze. Easy
threading, portable, will not
scratch film. Put this viewer between
your rewinders and speed up your
editing. Size of Viewing Screen 53A x 43A.
(TflmGRfl (iouipmsiiT (o.
1600 BROHOLURy \ new yORK cuy
Write Dept. A-8-4
warm blankets, towels and a fire.
The feeling of all concerned with the
making of “The Indian Fighter” is that
it will be one of the most unusual pic¬
tures of the year. It will have pioneered
picture photography under some of the
most trying conditions experienced this
year by Hollywood’s independent com¬
panies, seeking new and better ways to
make pictures that will compare favor¬
ably with the best the big studios have
ever turned out.
MOVING?
When changing your address, please notify
us at least four weeks in advance. BE
SURE to give your Former address as well
as your New address. Our Circulation De¬
partment needs both addresses in order to
properly identify your address stencil.
Your cooperation will insure that Amer¬
ican Cinematographer will continue com¬
ing to you regularly without delay or
omission of issues. Thank You.
— American Cinematographer
mnst tsmmm
■HBm
EVERYTHING tOR
^ - *. '
EASTERN PRODUCTION
•-
..
- LIGHTING - j*,
GRIP EQUIPMENT
PROPS - GENERATORS
DOLLIES - MICROPHONE BOOMS
(Catalogs Upon Request)
fg§§
m *
333 WEST 52nd ST.
N.Y. 19, N.Y. Cl 6-5470
American Cinematographer
o
August, 1955
489
LAB-TV
Professional
16MM BLACK & WHITE
REVERSAL
PROCESSING
Processing on
hourly schedule for
leading TV Stations and
Producers
•
FASTAX SPECIALISTS
•
Write for Circular
247 W. 46th St.
New York 36, N. Y.
PRECISION RACK-OVER
For all Bell & Howell 70 Cameras
Also adaptable to Bolex H-8 and H-16 Cameras —
3.00 additional
PRICE
$28.50
Mr
PHYSICAL
DESCRIPTION
Size: 4 '/4 " x4 % "x2 ’/4 "
high
Weight: 3'/2 lbs.
approx.
Cast Iron
Wrinkle Enamel finish
Machined to .001
tolerance
Tool Steel Guide and
Lock Pins
Vlier Spring Locating
Plunger
FEATURES
* Film exactly what you see.
* A must for perfectly centered titles.
* Perfect for animation. Assures you all moving
objects are within the lens field.
* Film ultra close-ups not possible with camera
parallax adjustment.
* Mounts on any tripod using '/, -20 mounting
screw.
* Cam locks in position to avoid accidental loss
of field.
* Camera can be hand cranked regardless of po¬
sition on RACK-OVER.
* A substantial camera base used to film from
a table top.
* May be used with all camera accessories in
place, such as: motor, 400-ft. magazine, etc.
* Can be racked over and locked instantly.
NOTE: Accessories soon available to mount di¬
rectly on the RACK-OVER. Precision Matt
Box — Titler Attachment.
CINE PRODUCTS COMPANY
P.O. Box 135
Westlake, Ohio
New Automatic Shifting Shutter On Kodascope Pageants
Th ree Kodak projector models feature the
new Super-40 variable shutter.
THE NEW Super-40 shutter for the Koda¬
scope Pageant Projectors is available
on three models shown above.
A New Shutter for Kodascope Pageant
16mm Projectors, which shifts automati¬
cally between two- and three-bladed po¬
sitions, provides increased screen illu¬
mination while retaining freedom from
flicker during showing of both sound and
! silent motion pictures. Developed by the
Eastman Kodak Company, the new shut¬
ter was shown for the first time at the
National Audio-Visual Conference in
Chicago last month.
Called the “Super-40 Shutter,” the
new device is described by Eastman of¬
ficials as one of the greatest advances
ever achieved in 16mm sound projection.
With the Super-40 Shutter, the Koda¬
scope Pageant becomes the first truly
all-purpose machine. Equipped for both
sound and silent projection it is capable
not only of projection under “normal”
conditions, but for use also under diffi¬
cult conditions of illumination, in hard-
to-darken rooms, in large halls, and
wherever additional screen brilliance, ex¬
tra-long projection throws, or unusually
large images are required.
Operated at 16-frames silent speed, the
Super-40 Shutter presents three blades
and provides a flicker-free 48 light in¬
terruptions per second. When the projec¬
tor is operated at sound speed, the addi¬
tional centrifugal force produced actu¬
ates a mechanism that automatically
changes the shutter to two blades. At
sound speed, the shutter transmits over
40% additional illumination, yet still
maintains the comfortable 48 flicker-free
rate.
For those occasions which do not call
for the extra brilliance of a two-bladed
shutter, a special latch permits the oper¬
ator to lock the shutter for standard il¬
lumination. The Super-40 Shutter re¬
turns to automatic operation when the
latch is released.
The new device meets the need which
projector manufacturers and users have
long recognized for additional projector
illumination. Greater brilliance has been
needed to make possible the larger screen
sizes required in modern 16mm projec¬
tion. Improved room-darkening tech¬
niques have provided a partial solution,
Eastman points out, as have the incor¬
poration into 16mm projectors of faster
lenses and lamps of greater capacity.
The key to the question of light trans¬
mission, however, has always been the
projector shutter and it is this problem
which the Super-40 shutter has solved.
Three Pageant autio-visual models are
now equipped with the Super-40 Shutter.
These include the AV-073 (7 watt, fl¬
inch speaker, single case), priced at
$425.00; the AV-153 (15 watt, 12-inch
speaker, 2 cases), at $530.00; and the
AV-153-S (15 watt, 8-inch, single case)
at $455.00. The exclusive permanent pre¬
lubrication, the unique built-in total Fi¬
delity Control, and other features which
have marked the Kodascope Pageant
Projectors are continued in this models.
The standard 3-bladed shutter is still
(Continued on Page 496)
Switch on at silent speed
The Super-40 Shutter automatically presents
three shutter blades. With three light inter¬
ruptions per shutter revolution . . . and 16
frames-per-second operating speed . . . the
Pageant develops 48 light interruptions per
second. Comfortable, flicker-free projection
with standard illumination.
Switch to sound speed
The Super-40 Shutter shifts automatically to
two blades, and screen illumination is in¬
creased by more than 40% 1 Yet at 24
frames-per-second sound speed, there are
still 48 light interruptions per second . . . and
your movies, though amazingly brilliant, are
still comfortably free from flicker.
Or lock In 3-bladed position
For those occasions when you don't need the
extra brilliance of a two-bladed shutter —
projection in very small rooms, for example—
a special latch lets you lock the shutter for
standard illumination. And when you wish to
return to automatic control, just release the
locking lever.
THE DESIGN feature of the new Kodascope Pageant Super-40 shutter makes possible auto¬
matic shift between two- and three-bladed positions as shown in the above diagrams.
490
American Cinematographer
August, 1955
GONE FOREVER!
The Dunning Magic
Dot Light Change Unit
Consists Of:
1. Anson-made metallic pressure
adhesive tape with high-conduc¬
tive qualities.
2. A special punch for cutting and
affixing the Magic Dots to edge of
film.
a*
Sm
NO MORE
NEGATIVE
NOTCHING
. . . for light change
and fader printing.
3. A light change and fader con-
tacter that instantly replaces a
roller on Model J or D printers.
4. An electrical remote positioned
impulse control box having no vac¬
uum tubes or tempermental adjust¬
ments that stymie most electronic
systems.
SID SOLOW, Vice-president, and ED REICHARD, Chief Engineer of Consolidated Film Industries, Hol¬
lywood, report: On a running-loop test, an equivalent of over 50,000 light changes were made
without a single miss" with the
DUNNING MAGIC DOT LIGHT CHANGE UNIT
ANSON RESEARCH CO . , 4337 CLYBOURNE • NORTH HOLLYWOOD © CALIF
RANGE FINDER
( Continued, from Page 480 )
For spectacle wearers, this is of par¬
ticular importance, because they often
fail to manage the usual built-in range
finder. Without any difficulty the spec¬
tacle wearer can now focus his camera
accurately.
“When we designed the lens system
of the “Focorect',” said a company rep¬
resentative, “we naturally strove for the
best obtainable optical correction and
we have achieved it. The correction goes
so far that in the case of some very fast
three-element anastigmats the remaining
defects of spherical aberration and astig¬
matism are practically elminated. The
efficiency of highly corrected four- and
five-element anastigmats remains prac¬
tically unaffected.”
Since the “Focorect” constitutes an
optical system without a focal length of
its own, it naturally affects neither the
scale of reproduction nor the depth of
field and time of exposure.
At the time of going to press, the
Editors of American Cinematographer
had not been informed of the appoint¬
ment of a distributor for the “Fo¬
corect” in the U. S. However, an an¬
nouncement of this sort will probably
follow shortly. As to price, we are in¬
formed that the “Focorect” sells in
England for approximately $20.00.
Model 35-16C
S I T E S T E R
★ IMMEDIATE DELIVERY
to the lab owners interested in —
QUALITY
EFFICIENCY
ECONOMY
• DUAL MACHINE
1 — Sensitometer
2 — Scene Tester
• HIGHLY ACCURATE
Electronic timer unaffected
by climatic changes.
• NEW TYPE LONG-LIFE
Cold Light Exposure Unit
• WITHOUT ADDITIONAL
EXPENSE will match any
printer
Combination 35mm-l 6mm
ART REEVES MOTION PICTURE EQUIP.
7512 Santa Monica Blvd.
Hollywood 46 California
American Cinematographer
August, 1955
491
Convert Your Auricon
Pro or Cine -Voice to
Accept 40(Mt Magazines
SAY SOMETHING EXTRA WITH SOUND
(Continued, from Page 478)
A completely satis¬
factory custom con¬
version to use 100'
spools, 200' spools
or 400' magazines
for direct recording
of 16mm sound
movies. Your cam¬
era is entirely re¬
built, refinished
and converted, or
we can supply
complete new units
on order.
Direct drive (no lag or speed¬
ing up of film). Conversion
includes built-in Veedor foot¬
age counter and monitor
phone jack. We can also sup¬
ply fully synchronous motors.
Thoroughly tested and ap¬
proved. Prompt delivery.
Write for Literature
and Prices
We are also
distributors for
HILLS FILMATIC
16mm Processor
HAROLD’S Photography & TV
308 South Phillips, Sioux Falls, S. D.
Automatic Daylight Processing
DEVELOPING TANK
• Processes up to 200 Ft.
• 8mm- I6mm-35min
• Movie — X-Ray — Microfilm
• Motor driven portable
• Tough plastic tanks
• Uniform Density Assured
• 70mm tank also available
FILM DRYER
• Motor driven — Heated
• Speedy drying
• Automatic shrinkage allow¬
ance
• Stainless steel and
aluminum construction
• Easily assembled without
tools
• Compact, Portable
Guaranteed. Write for Free Literature
Micro Record Corp.
Beacon, N. Y.
Video Film Laboratories
131 West 23rd Street
New York 11, N.Y.
Complete 1 6mm laboratory service for
Producers using the Reversal Process
Also 16mm Negative and Positive
developing.
WRITE FOR PRICE LIST
Established 1949
This is an instance where the com¬
mentary definitely adds to the film.
Neither picture nor sound-track would
be complete without the other. Now, if
the commentator began, “This church is
shaped like a foot-stool, with a tower at
each corner representing a leg of the
stool. The reason for this is etc.,” he
would be wasting breath on something
which the audience could see for them¬
selves as quickly as the picture unfolded
on the screen.
This is deliberately a very simple ex¬
ample (though it is always worth testing
the value of a commentary of a holiday
or documentary production by seeing
just how much of what is to be said can
already be seen on the screen). Never¬
theless, it does point the way to the use
of the contrapuntal sound technique in
more ambitious spheres.
Suppose, for instance, that you have
a straightforward duologue sequence to
shoot. The orthodox treatment would be
to cut from one person to the other as
they spoke. But this adds little to the
conversation but the facial expressions of
the speakers. True, these can sometimes
be important; hut in many cases the
reaction of the listener is more vital than
the words of the speaker.
If your picture shows the listener while
youi tiack carries the other s words, the
total effect will be subtler and stronger
than if the image and sound were iden¬
tical. (This is also an example of making
a virtue of the problems of exact lip^
synchronization). I don’t suggest it
would be wise to use this technique for
the whole sequence, for merely cutting
from listener to listener would prove
tiresome, and eventually pointless. But it
cen be used for, say, a dramatic and
fairly lengthy speech which, to the listen¬
er, is a revelation of some unsuspected
fact or situation.
Similarly, it might be an idea — ac-
! cording to your script and your cast’s
ability — to try a short duologue with the
camera solely on the person who does
the least talking. With well thought out
dialogue, a strong situation and an ade¬
quate actor there is no reason why you
should not create a complete characteri¬
zation in a single shot.
Commentary is frequently even more
effective in a fiction film than in a docu¬
mentary. One of the best examples I re¬
member in the professional cinema oc¬
curred in Cukor’s brilliant story of a
broken marriage, The Marrying Kind.
At the beginning of the film Aldo Ray
and Judy Holliday describe to a divorce
court judge how they first met. The pic¬
ture flashes back to show how it all be¬
gan; the voices continue, not only to
introduce the scene, but to describe the
action throughout.
This may sound like a complete con¬
tradiction of everything I’ve been putting
forward so far. But the point is this:
Ray s version and Judy Holliday’s in¬
spired interruptions disagree on what
happened ; but the picture shows exactly
what took place, and proves that they’re
each trying to tell the story to show
themselves in the best possible light.
Thus we have three versions of one in¬
cident on the screen and track at the
same time, not merely telling the story
and making for first-rate comedy, but
also helping towards the characteriza¬
tions of the two principals.
There is tremendous scope for devel¬
opment here, and in a way which seems
almost tailored for the amateur. The
reminiscences of a “hero,” fishermen’s
tales, the claims of inhabitants of rival
towns these are the most obvious ex¬
amples of the scores of film story ideas
that could be devastatingly illustrated
by images showing what actually hap¬
pened. r
Sound is an expensive item for any
amateur, so expensive, in fact, that it
seems foolish not to make the most of it.
Why not ask yourself, before you begin
your next sound production, whether
your sound-track is really going to add
anything to the film? If it’s not, then it’s
obviously a waste of time and money
having a track at all. But that needn’t
mean scrapping the whole idea of the
fdm As I said before, there’s still an
awful lot of scope in the silent cinema.
SET LIGHTING
(Continued from. Page 468 )
additional units to polish the closeup.
.he most important of these is the top-
light or back-light, usually mounted
above and behind the subject to throw
a light on subject’s hair and shoulders.
Aside from the added artistic touch the
main function of the back-light is to give
the subject “separation”; that is, to
keep him from blending into the set and
make him stand out. For the back-light,
a high intensity unit, often equalling the
key-light in degree of illumination, is in¬
variably used.
Some cameramen may or may not
want to use a kicker light — which is
nothing more than a small spotlight used
to illuminate a particular facial feature,
piece of jewelry worn by the subject, etc!
An eye-light placed to one side of the
camera and at the subject’s eye level,
492
American Cinematographer
August, 1955
Look for
jhjs
trademark
It is your guarantee
of the finest in sound
editing instruments.
PRECISION SOUND READERS
FEATURES: Simple threading . . . polished stabilizer
drum with needle bearings, with a surface which
cannot damage film . . . film rollers machined to con¬
form with SMPTE standards, and equipped with oilless
bearings . . . precision ground shafts . . . dimension
6x6x7 '/2 inches.
AMPLIFIER: 117 volt — 60 cycle — AC . . . power
output — 4 watts . . . heavy duty Alnico V speaker
. . . safety fused . . . prefocused socket . . . pilot
light ... 6 ft. heavy duty cord.
All Prices F. O. B. Factory, Brooklyn, New York
OPTICAL
Model 600 . 16mm and 35mm
NET PRICE $185.00
MAGNETIC
Model 700 . 16mm, 17.5mm, 35mm
and ’/» inch
NET PRICE $198.00
OPTICAL-MAGNETIC
Model 800 . .16mm, 35mm & ’/j inch
NET PRICE $259.50
PRECISION
1139 Utica Avenue
Write for Literature
LABORATORIES
Brooklyn 3, New York
will add an extra measure of sparkle to
the scene.
The light falling on the subject can
be carefully controlled by means of
barndoors, snoots or diffusers mounted
on the spotlights. If the light still hits
part of the subject that the cameraman
wants to subdue, this may be corrected
by screening the light off with a gobo, a
rectangular sheet of black board or wire
mesh, set up between the light source
and the subject.
Generally speaking, women subjects
look better in closeup if diffused light is
used in photographing them. Gauze or
light silk screens placed over the spot¬
lights will soften harsh shadows and cre¬
ate a pleasant modeling light. Women
with wrinkles or “crow’s feet” usually
require a more or less flat lighting to
avoid accentuating such features. Where
further correction is needed, it is a good
idea to purposely over-expose the scene
(in order to “wash out" the wrinkles)
and then correct the over-exposure in
printing.
In lighting men, the aim of the pho¬
tographer usually is to make them ap¬
pear as masculine as possible. For this
reason, it is better to use light without
diffusion. Also, less fill-light should be
used so that othe character lines and
the structure of the face will have more
(Continued on Page 495)
COMPLETE MOTION PICTURE EQUIPMENT
FROM ONE SOURCE
CAMERAS
MITCHELL
1 6mm
35mm Standard
35mm Hi-Speed
35mm NC • 35mm BNC
BELL & HOWELL
Standard • Eyemo * Filmo
ARRIFLEX
16mm • 35mm
WALL
35mm single system
ECLAIR CAMERETTE
35mm • 16/35mm
Combination
AURICONS
all models single system
Cine Kodak Special
Maurer • Bolex
Blimps • Tripods
DOLLIES
Fearless Panoram
Cinemobile (CRAB)
Platform • Western
3 Wheel Portable
LIGHTING
Mole Richardson
Bardwell McAlister
Colortran
Century
Cable
Spider Boxes
Bull Switches
Strong ARC-Trouper
10 Amps 11 0V AC 5000W-
2000W-750W
CECO Cone tiles
(shadowless lite)
Gator Clip Lites
Barn Doors
Diffusers
Dimmers
Reflectors
WE SHIP VIA AIR, RAIL
EDITING
Moviolas • Rewinders
Tables • Splicers
Viewers (CECO)
GRIP EQUIPMENT
Parallels • Ladders
2 Steps • Apple Boxes
Scrims • Flags
Gobo Stands
Complete grip equipment
SOUND EQUIPMENT
Magnasync-magnetic film
Reeves Magicorder
Mole Richardson Booms and
Perambulators
Portable Mike Booms
Portable Power Supplies to
operate camera and recorder
OR TRUCK
FRANK C. ZUCKER
(JnniERfl (iouipmenT (o.
Dept. A- 8-19 • 1600 Broadway • New York City
American Cinematographer
August, 1955
493
Feature and television film productions for which members of the American Society of
Cinematographers were engaged as Directors of Photography during the past month.
AMERICAN SOCIETY
OF CINEMATOGRAPHERS
•
Arthur Miller, President
Sol Halprin, First Vice-President
William Skall, Second Vice-President
Alfred Gilks, Third Vice-President
Walter Strence, Treasurer
Charles G. Clarke, Secretary
Robert de Grasse, Sergeant-At-Arms
BOARD OF GOVERNORS
Joseph Biroc
George Folsey
Burnett Guffey
Winton Hoch
Hal Mohr
Ray Rannahan
Leon Shamroy
Philip Tannura
ALTERNATE BOARD MEMBERS
Ellis Carter
Paul Eagler
Farcion Edouart
Irving Glassberg
Milton Krasner
Ernest Laszlo
Robert Pittack
John Seitz
James Van Trees
Paul Vogel
ALLIED ARTISTS
• Harry Neumann, “Operation Uranium,”
with Leo Gorcey, Huntz Hall, Mary Beth
Hughes. Edward Bernds, director.
• Ellsworth Fredericks, “World Without
End,” (Color) with Hugh Marlowe, Nancy
Gates. Edward Bernds, director.
• Floyd Crosby, “Shack Up on 101,” with
Terry Moore, Frank Lovejoy, Lee Marvin.
Edward Dein, director.
COLUMBIA
• James Wong Howe, “Picnic,” (Techni¬
color, CinemaScope) with William Holden,
Rosalind Russell, Kim Novak. Josh Logan,
director.
• Burnett Guffey, “Battle Stations,” with
John Lund, William Bendix. Lew Seiler, di¬
rector.
• Henry Freulich, “The Houston Story,”
with Gene Barry, Barbara Hale. William Cas¬
tle, director.
• Ray June, “Tambourine,” (Welsch Prods.,
Technicolor, CinemaScope), with Jane Rus¬
sell, Cornel Wilde. Nicholas Ray, director.
• Charles Lawton, “Jubal Troop,” (Tech¬
nicolor, CinemaScope), with Glenn Ford,
Ernest Borgnine, Valerie French. Delmer
Daves, director.
METRO-GOLDWYN-MAYER
• Joseph Ruttenberg, “Kismet,” (Eastman
Color, CinemaScope), with Howard Keel, Ann
Blythe, Dolores Gray, Vincente Minnelli, di¬
rector.
• Arthur Arling, “I’ll Cry Tomorrow,”
(Wide-screen) with Susan Hayward, Richard
Conte, Eddie Albert. Daniel Mann, director.
• Paul Vogel, “The Tender Trap,” (East¬
man Color, CinemaScope) with Frank Sinatra,
Debbie Reynolds, David Wayne, Celeste Holm.
Charles Walters, director.
• Robert Planck, “Diane,” ( EastmanColor,
CinemaScope), with Lana Turner, Pedro Ar-
mendariz, Marisa Pavan, Roger Moore. David
Miller, director.
• Russell Harlan, “The Last Hunt,” (East¬
manColor, CinemaScope), with Robert Tay¬
lor, Stewart Granger, Lloyd Nolan, Anne Ban¬
croft. Richard Brooks director.
PARAMOUNT
• Loyal Griggs, Wallace Kelley, Peverell
Marley, “The Ten Commandments,” (Vista-
Vision, Technicolor), with Charlton Heston,
Anne Baxter, Yul Brynner, et al. Cecil B. De
Mille, director.
• Lionel Lindon, “Too Late, My Love,”
(VistaVision) with Carol Ohmart, Tom Tryon,
Jody Lawrence. Michael Curtiz, director.
• Robert Burks, “The Man Who Knew Too
Much,” (VistaVision, Technicolor), with
James Stewart, Doris Day. Alfred Hitch¬
cock, director.
• Daniel Fapp, “The Lady Eve,” (Techni¬
color, VistaVision), with George Gobel, Mitzi
Gaynor. Norman Taurog, director.
R.K.O. -RADIO
• Wilfrid Cline, “Glory,” (David Butler
Prod., Technicolor, Superscope), with Mar¬
garet O’Brien, Charlotte Greenwood, Arthur
Hunnicutt. David Butler, producer-director.
TWENTIETH CENTURY-FOX
• Milton Krasner, “The Girl In The Red
Velvet Swing,” (CinemaScope, Color) with
Ray Milland, Joan Collins, Farley Granger,
Richard Fleischer, director.
• Joseph MacDoNALD, “The View From Pom-
pey’s Head,” (CinemaScope, Color), with
Richard Egan, Dana Wynter, Cameron Mit¬
chell. Philip Dunne, director.
© Leon Shamroy, “Good Morning, Miss
Dove,” (Color, CinemaScope), with Jennifer
Jones, Robert Stack. Henry Koster, director.
UNIVERSAL-INTERNATIONAL
• William Daniels, Tom Tutwiler, “Away
All Boats,” (Technicolor, VistaVision) with
Jeff Chandler, George Nader, Julie Adams.
Joseph Pevney, director.
• Maury Gertsman, “World In My Corner,”
with Audie Murphy, Barbara Rush, Jeff Mor¬
row. Jesse Hibbs, director.
• Irving Glassberg, “Backlash,” (Techni¬
color) with Richard Widmark, Donna Reed.
Rudy Mate, director.
• George Robinson, “The Square Jungle,”
with Tony Curtis, Pat Crowley, Ernest Bor-
goine, Paul Kelly. Jerry Hopper, director.
• William Daniels, “The Benny Goodman
Story,” (Technicolor), with Steve Allen, Don¬
na Reed, Berta Gersten, Harry James. Valen¬
tine Davies, director.
• William Snyder, “Decision at Durango,”
(Technicolor), with Rory Calhoun, Martha
Hyer, Dean J agger. Jack Arnold, director.
• Ellis Carter. “A Day of Fury,” (Tech¬
nicolor). with Dale Robertson, Jock Mahoney.
Harmon Jones, director.
WARNER BROTHERS
• Russell Metty, “Miracle In The Rain,”
with Jane Wyman, Van Johnson, Paul Picerni,
Barbara Nichols. Rudy Mate, director.
• William Mellor, “Giant,” (Warnercolor)
with Elizabeth Taylor, Rock Hudson, James
Dean, Jane Withers. George Stevens, director.
• Sam Leavitt, “The Court-Martial of Billy
Mitchell,” (Warnercolor, CinemaScope), with
Gary Cooper, Ralph Bellamy, Fred Clark,
Herbert Heyes. Otto Preminger, director.
• Joseph LaShelle. “Our Miss Brooks,” with
Eve Arden, Robert Rockwell, Jane Morgan,
Gale Gordon. Al Lewis, director.
INDEPENDENT
• Harry Stradling, “Guys and Dolls,” Sam¬
uel Goldwyn Prodn., (Technicolor, Cinema¬
Scope) with Marlon Brando, Jean Simmons,
Frank Sinatra, Vivian Blaine, et al. Jos L.
Mankiewicz, director.
• Ernest Laszlo, “News is Made at Night,”
Friedlob Prod., with Dana Andrews, Ida Lup-
ino, Rhonda Fleming, George Sanders, Tho¬
mas Mitchell, Howard Duff. Fritz Lang, di¬
rector.
• Lucien Ballard, “A Kiss Before Dying,”
Crown Prod., (Eastman Color, CinemaScope),
with Robert Wagner, Jeff Hunter, Virginia
Leith. Gerd Oswald, director.
• Winton Hoch, Al Gilks, “The Searchers,”
C. V. Whitney Pics., (Color, VistaVision),
with John Wayne, Jeff Hunter, Vera Miles,
Ward Bond. John Ford, director.
• Harold Lipstein, “Forever, Darling,” (Zan-
ra Prods., EastmanColor, Wide-screen), with
Lucille Ball, Desi Arnaz, James Mason, Louis
Calhern. Alexander Hall, director.
• Boris Kaufman, “Patterns,” (Harris-My-
erberg Prods.), (Shooting in N.Y. ), with
Van Heflin, Beatrice Straight. Fielder Cook,
director.
• Guy Roe, “Six Gun Lady,” (Lyon & Bart¬
lett Prods.), with Peggie Castle, William
Tallman, Marie Windsor. Richard Bartlett,
director.
TELEVISION
Kenneth Peach, “Dr. Hudson’s Secret Jour¬
nal,” “Steve Donovan, Western Marshal,”
“Fury,” “Gangbusters.”
Robert DeGrasse. “Those Whiting Girls,”
“Make Room for Daddy,” “It’s Always Jan.”
Nick Musuraca, “The Lineup.”
Walter Strenge. “This Is the Life.”
Ernest Miller, “Gunsmoke.”
Mack Stengler, “Ina Ray Hutton Show,”
“It’s Fun to Reduce.”
George E. Clemens, “Schlitz Playhouse of
Stars.”
Henry Sharp, “Sheena, Queen of the Jun¬
gle.”
Ed Fitzgerald, “You Are There.”
Lathrop Worth, “The Great Gildersleeve.”
Lucien Androit, “The Life of Riley.”
Gil Warrenton. “Sgt. Preston of the Yukon.”
Joseph LaShelle, “My Friend Flicka.”
Carl Guthrie, “Cheyenne,” “King’s Row.”
Harold Stine, “Casablanca.”
Stuart Thompson, “Lassie.”
Lloyd Aherne. “My Friend Flicka.” “G.E.-
20th Century-Fox Show.”
Norbert Brodine, “The Loretta Young
Show.”
Joseph Biroc, “My Friend Flicka,” “This
Earth. This Land.”
Alan Stensvold, “Andy’s Gang.”
494
American Cinematographer
August, 1955
SET LIGHTING
(Continued from Page 493)
depth and stand out more clearly. With
men subjects, also, the key-light may
be placed higher and at a more extreme
angle to the side of the camera.
Sequences involving special effects in
the long shots should carry out those
same effects in the corresponding close-
ups. If there is a firelight sequence, for
example, the closeups should show the
flicker of light on the subject’s face. This
is done by moving a small branch or
twig in front of the light source simul¬
ating the fire. Cross-lighting, in which
the key-light is set to one side of the
subject with little or no fill-light used, is
very effective in dramatic sequences.
Rim-lighting is a very extreme adapta¬
tion of this technique and is executed
by placing a light directly behind the
subject so that he screens it, his form
being outlined with light with his face
going dark, This particular effect must
be perfectly executed and is not recom¬
mended except in very dramatic se¬
quences.
In lighting players on the set, the
threefold objective is to have them ade¬
quately lighted for the action, to light
them in key with the mood of the se¬
quence, and to make them look good
on the screen. If the 16mm cameraman
approaches his lighting problem with
these points in mind, his camera re¬
sults should compare favorably with
tho«e characteristic of the professional
photoplay.
MOVIES IN LAW ENFORCEMENT
(Continued from Page 463)
tions last January for their own informa¬
tion, experiments are continuing before
a premier of such films are made in
court.
Most graphic driver tests, as far as
the movies are concerned, are revealed
when the driver is asked to perform
these standard checks: A. Show balance
with head back, eyes closed, arms out¬
stretched. B. With eyes closed, arms
outstretched, bring finger to nose. C.
Pick up coin. D. Walking and turning at
command.
So encouraging have been the results
with the new high-speed motion picture
films, that Sheriff Ed Elder has had
the department’s 16mm camera pressed
into use to record gang fights, fatal
accident scenes, scenes of violence, reck¬
less driving, and for refreshing memory
of testifying officers.
“Night motion pictures can be in¬
valuable for preserving a record of the
(Continued on Page 498)
MODEL ILLUSTRATED
Height 11'6" • Width 5' • Depth 6'4"
flew
OXBERRY OPTICAL STEP
PRINTER Designed for special effects
and projection printing. Produces blow¬
ups or reductions, skip framing, push offs
and traveling mats. Units are equipped
1 with 35 MM or 16 MM head. Printers to
handle TODD A-0 VISTA VISION and
other processes require special order.
Standard models are available in 120 days.
Produce startling animation resu
in record time with
OXBERRY
ANIMATION EQUIPMENT
OXBERRY STAND s COMPOUND
Developed to meet the exacting require*
ments of the animation industry. Saves
hours of labor. Provides complete flexibility
and maximum accuracy. Compactly and
ruggedly constructed. Au¬
tomatically coordinates
film, camera and platen.
OXBERRY COMBINATION
35-16 MM PROCESS CAMERA
Especially engineered for animation
6tands and optical printers. Now in pro¬
duction, early delivery.
Write for specification sheet.
Each OXBERRY unit is created by
an organization experienced in
animation problems and devoted
exclusively to the production of
superior equipment. Also available
are registration devices, pegs and
punches, cast aluminum drawing
and planning boards.
Write today for complete brochure...
The ANIMATION EQUIPMENT Corporation New Rochelle, New York
BACK
issues
Complete your files of American
Cinematographer with issues you
have missed or lost. Valuable tech¬
nical data in every issue for future
reference for both amateur and
professional cinematographers.
30c
AMERICAN CINEMATOGRAPHER
1782 No. Orange Dr., Hollywood 28, Calif.
American Cinematographer
August, 1955
495
Synchronous Motor Drive for
16mm Projectors
Especially designed to drive all Bell & Howell
Ampro and Victor 16mm projectors at Syn¬
chronous speed.
The synchronous motor drive can be instantly
attached to projector and taken off at any
time. No special technical knowledge re¬
quired for installation and mounting.
The synchronous motor drive is complete with
base-plate, Cannon plug for cable and power
switch, and a set of reduction gears.
W rite for more details and prices
Also available on special order. Synch. Motor
Drive for all Simplex 35mm portable projectors.
ONE YEAR GUARANTEE!
Immediate Delivery
Available at leading dealers, or direct.
C I N E K A D
ENGINEERING COMPANY
500 West 52nd St., New York 19, N.Y.
PLaza 7-3511
DESIGNERS AND MANUFACTURERS OF
MOTION PICTURE— TV EQUIPMENT
RUBY CAMERA EXCHANGE
Rents . . . Sells . . . Exchanges
Everything You Need for the
Production & Projection
of Motion Pictures Provided
by a Veteran Organization
of Specialists
35 mm . 16 mm.
Television
IN BUSINESS SINCE 1910
729 Seventh Ave., New York 19, N. Y.
Tel.: Circle 5-5640
Cable address: RUBYCAM
PROCESSING
Reversal specialists for over a decade.
Our long experience insures superior quality.
Electronically controlled machines keep tem¬
perature constant within .2 of one degree.
National "Brilljantone” Cine prints are the finest
available. Write for free catalogue.
CONTACT PRINTING
WORK PRINTS
EDGE NUMBERING
B A W DUPLICATING
KODACHROME DUPLICATING
VACUUMATING
work vaporated at no extra charge
NATIONAL CINE LAB
Washington 17, D. C.
Kinevox, Inc., Builds Disneyland Exhibit Controls
ONE OF several components built by
Kinevox, Inc., which automatically con¬
trols operation of Disneyland exhibits.
The versatility and range of diver¬
sification of Kinevox, Inc., Burbank,
Calif., is exemplified in the recent com¬
pletion by the company of two contracts
for Disneyland display controls.
Kinevox, which manufacturers the
well-known line of magnetic film and
tape recorders bearing the same name,
was given contracts to design and build
electronic reproducing and control equip¬
ment for the American Motors and the
TWA displays at Disneyland Park.
For the American Motors’ Circarama
exhibit (described elsewhere in this is¬
sued) Kinevox, Inc., supplied the four-
track 35mm magnetic sound reproducers
and built the complete projection control
units for the system.
Chief problem for this exhibit was
making operation of the eleven 16mm
projectors an automatic function. The
Circarama film show runs for a period
of 15 minutes, then after a pause, is re¬
peated. The picture and sound films form
a continuous loop.
The Kinevox control was so designed
as to allow continuous operation or to
stop operation at the end of any pre¬
selected cycle. If film breaks in any one
of the eleven projectors, or if any other
type of trouble develops, the affected pro¬
jector is automatically disconnected from
the system. The rest of the projectors
continue running until end of the cycle
is completed, at which time the fault or
damage which has occurred is repaired.
A unique feature of the control system
is a “sentinel” circuit which automati¬
cally checks the whole system at the end
of each cycle. Thus, if no faults are de¬
tected, the machines are automatically
set in motion again for the next cycle of
operation. On a control panel are two
banks of indicator lamps — one that indi¬
cates film break or projector failure and
the other that a lamp needs replacement.
For the TWA Rocket Trip to the
Moon, Kinevox supplied the 35mm four-
track magnetic sound reproducers and
•
the elaborate dual control system for two
ships.
The “Trip to The Moon” takes ap¬
proximately 15 minutes. When the at¬
tendant presses a button on the control
panel, it sets in motion 16mm film pro¬
jectors and the sound reproducers. The
passengers in the ship hear the pilot wel¬
coming them aboard and his short de¬
scription of the trip they are about to
take. What follows is a combination of
visual, aural and physical sensations
which are automatically set in motion
and controlled by the unique Kinevox
equipment. There is the sound and the
vibration of the rocket motors being
started, the lights being dimmed, etc.,
all through an ingenious arrangement of
timing switch cams, relays, agastats,
selsyn and synchronous motors.
At the end of the cycle, the equipment
shuts down and everything is in sync
again for the next trip.
Two Eastman 16mm projectors are
employed, and by the use of mirrors the
picture is projected both on the upper
and lower scaning ports. When the ship
makes a turn at the moon, the roar of the
rocket engines and the vibration caused
by the power turn, together with the pic¬
ture of the rocket blast, makes the trip
very realistic.
Timing is held to split-second ac¬
curacy and everything is interlocked so
that the sensation of the ride will always
be the same.
A complete standby system of controls
is always in readiness in the event there
should be a breakdown.
AUTOMATIC SHUTTER
( Continued from Page 490)
available in the Kodascope Pageant
Model 7K2, which is the same in all
other features as the Model AV-073.
Two “silent” projectors are being con¬
tinued in the Kodascope line. One is the
Kodascope Analyst Projector, designed
especially for sports analysis, motion
study and other fields where 16mm films
are subjected to critical, detailed analy¬
sis, and the Kodascope Royal Projector,
designed for crisp, brilliant projection
under normal conditions of usage rather
than for critical movie analysis.
Also continued in production is the
Eastman 16mm Projector, Model 25,
planned to meet the most exacting the¬
ater standards and for permanent instal¬
lations. This is available in either arc or
tungsten illumination.
All projectors described above are sold
through Eastman Kodak Audio-Visual
Dealers.
496
American Cinematographer
August, 1955
CLASSIFIED
RATES: Ads set in lightface type, 10c per word; minimum ad, $1.00.
Text set in lightface capital letters (except 1st word and advertiser's
name) 15c per word. Modified display format (text set in boldface
type, capitals or upper-and-lower case) 90c per line. Send copy with
ADVERTISING
remittance to cover payment to Editorial Office, American Cinematog¬
rapher, 1782 No. Orange Drive, Hollywood 28, Calif. Forms close 15th
of month preceding date of issue. No discount on Classified Advertising.
STUDIO & PRODN. EQUIP.
SUMMER OPPORTUNITIES— IN FACT THEY ALL ARE!
HOUSTON FEARLESS PERAMBULATOR DOLLY,
$2100 vaue . $1350.00
MAGNERECORDER 3-D BINAURAL OUTFIT,
$800 value, like new . . 495.00
TIME LAPSE INTERVAL Meters for Bolex and
Cine Special, complete . . . 146.00
AKELEY 35mm EDITING MACHINE, sound,
picture, preview. $3000 value . 1295.00
NEW FRESNEL STUDIO SPOTS, lead wires,
switch, pipe clamp.
2000 Watt . $59.95 5000 Watt . 99.95
NEW 1500W NEWSREEL FLOODLITES, $100
value. Close out. . . . 29.50
BRIDGAMATIC JR. 16mm FILM DEVELOPER
with bottom drain, spray wash, improved
drybox, rotary air pump, varispeed trans¬
mission, reconditioned. $1900 value . 1225.00
NEW ENCLOSED FILM STORAGE CABINETS,
capacity 20 — 400' reels, 2 drawers, gray
enameled, $37.50 value . . 14.95
Lots of 3 . — $1 2.95 Lots of 6 . 9.95
BARDWELL-McALISTER MULTIPLE FLOODLITES,
3 Quadruple heads to hold 12 bulbs on
rolling tripod stand. Orig. Gov’t cost
$1800.00. Surplus . . . _ . . 29.50
BM QUADLITE Heads only $4.95. Stands only 19.95
B&H 16mm FILMO SPECIALIST CAMERA
w/rackover, matte box, Mitchell type
Finder,- syncmotor; 400' mag.; w/case.
$2000 value ..... . . . . 995.00
400' MAGAZINE CONVEDSION w/counter for
Auricon Cinevoice. New. Same with 1200'
mag. & motor takeup . .. . 695.00
EASTMAN AIRGRAPH 16/35mm FILM DEVEL¬
OPING MACHINES. Fixes, washes, dries.
Stainless steel tank and drum, drive motor,
heater, blower, $1800 value. Gov’t Sur¬
plus . . . . _ . . _... 295.00
CINEFLEX 35mm REFLEX CAMERA w/6 fast
lenses; 2 — 400' magazines,- 2 motors,- $2500
value . . } . . 995.00
CAMERECLAIR 35mm STUDIO CAMERA; pilot
pins,- focus thru film; shoots single frames;
five f2 lenses — 25/28/35/50/1 00mm; 12 —
400' magazines. Ideal for animation and
slidefilm. $3,500 value, like new . 995 00
CINEX EXPOSURE TESTING MACHINES— used
by leading labs. Originally $4000.00. Re¬
built . - . . . . 1995.00
ART REEVES 35mm OPTICAL SOUND RE¬
CORDER; interlock motor,- footage counter;
tachometer,- ultra violet glowlamp; ampli¬
fier,- double mixer, $5,000 value. Close out 495 00
BERNDT-MAURER CAMERA w/finder,- 3 lenses;
4 — 400' magazines- sunshade,- 12V motor,-
syncmotor; varispeed motor with tachom¬
eter; Mitchell tripod. $6,000 value . 2495 00
B&H FILMO 7 0DA CAMERA with 3 lenses
and rackover base. $600 value. Close
out . . . . . . . J49 50
TRADES TAKEN Cable: SOSOUND Dept, fc
S.O.S. CINEMA SUPPLY CORPORATION
602 W. 52nd Street, New York 19. Phone PL 7-0440
FOR SALE
WE ALWAYS HAVE BARGAINS
in Professional 35 & 16mm equipment.
CAMERAS — LIGHTS
MAGNETIC and OPTICAL
RECORDERS and PLAYBACKS
MOVIOLAS — DOLLYS — BOOMS
Send for our constantly changing list.
Hundreds of Other Production Items.
Write — Wire — Phone
CINEMA SERVICE CORP.
106 West End Avenue, New York 23, N.Y.
TRafalgar 3-1411
WALL S. S. 35MM. SOUND CAMERA
COMPLETE with Galvanometer, amplifier, portable
power supply, 40-50-75 and 100mm. lenses, erect
image viewfinder, complete front attachments, two
1000 ft. magazines. Balanced Tripod, necessary
carrying cases. Overhauled. Guaranteed perfect.
Reasonable.
CAMERA EQUIPMENT COMPANY
1600 Broadway New York 19, N. Y.
PRECISION Magnetic Heads for Engineers - Industry
Erase - Record - Playback
STANCIL-HOFFMAN CORPORATION
921 North Highland Avenue
Hollywood 38, California
FOR SALE
OUR 26th YEAR ★ ★ ★ ★ SUPPLYING EVERYTHING
PHOTOGRAPHIC AND CINEMATIC
RADIANT FOLD-PAK WASHABLE SCREEN un¬
used. 12'xl6' New Value $215.00 . . . $ 125.00
ART REEVES SENSITESTER Combination 35mm
and 16mm. Value $2,000.00. Special . 595.00
HOMRICH ELECTRONIC TIME CONTROL CONr
TACT PRINTER. Timer has full second and
split second setting. Handles 4x5, 5x7, 8x10
negatives. Adjustable masking and paper
guides. Internal glass dodning plate. Four
lamps, each controlled by separate toggel
switch. A real buy! . . . 165.00
B&H 16mm FILMO CAMERA Model 70-DA
with 17mm f2.7 Wollensak, 1" fl .5 Dal-
meyer, 2" f2.8 Schneider. 3" f4 B & H
Teletar, and 6" f 4.5 Telephoto Xenar
Lenses; 2-400' Magazines; Motor; Wells
Semi-Professional Tripod: Carrying Case.
Value $1,695.00. Special . 1150.00
STANDARD MITCHELL 12 V Variable Speed
Camera Motor. Factory Guarantee . 300.00
Also 110 V AC-DC Motor with Tachometer.
Value $580.00 . 395.00
35mm B&H SINGLE SYSTEM SOUND CAM¬
ERA. Lenses: 40mm, 50mm, 75mm, 125mm.
Modulite galvanometer, amplifier, motor.
Tachometer. 2-1000' magazines, Tripod
with Freehead, quick release legs, carry¬
ing cases. Guaranteed . 3250.00
SCHOEN PRINTER, sound and silent, color,
B & W. Features: 16mm picture & sound
together, film capacity 1600 feet, 50' per
minute; 12 adjustable light changes, • AC-DC
conversion unit . . . . . 999 00
LACO INCANDESCENT LAMP 24" Reflector.
Five Kilowatts- Rolling Stand. Value
$246.00. Special . . . 110.00
35mm DUPLEX PRINTER Adapted for sound
track, excellent for duping. Academy Aper¬
ture. Speed 250 pictures per minute per
side. Two light change boards, 18 different
lights each side, 21 scenes. Motor 110 V,
perfect mechanical condition . 875.00
MOLE RICHARDSON combination Microphone
and Lamp BOOM. Rolling stand. Special.... 235.00
B&H CAMERA CHECK PAWL. High speed
Shuttle. List Price new, $1742.00. In good
condition . 195.00
B&H 12V or 24V EYEMO & FILMO MO¬
TORS. New. Value $142.00 . 95.00
MOLE RICHARDSON 2000 Spot, rolling stand 110.00
MITCHELL COMBINATION Freehead and Gear-
head Professional TRIPOD. . . . . 365 00
ENLARGERS, EXCELLENT CONDITION, EL-
WOOD. Auto focus, lens and stand. Size
5x7 . . 235.00
Size 8x10 . 400.00
SPECIALIZING IN MOVIE AND TELEVISION SUPPLIES,
TRIPODS, SYNCHRONIZERS, 16mm SOUND CAMERAS
lights, lenses, mikes, booms, dollies, motors, etc.
New — Used. Reasonable prices. Cash for used equip¬
ment. Trades taken.
HOLLYWOOD CAMERA EXCHANGE, LTD.
1600 CAHUENGA BOULEVARD, HOLLYWOOD 28, CAL.
EYEMO compact turret, never used or registered with
2" Xerfon, 3" Baltar and matching objectives,
$800.00. BOX 1214, American Cinematographer.
BASS ... is headquarters for Arriflex 16; the new
Zoomar 16; Cine specials, all models; Bell &
Howell 70-DL; Bolex H-16; L.N. Cine Special II,
1" F: 1 .4, 15mm. F:2.5 Ektars, optical finder, re¬
flex finder, extra 100 ft. chamber, Yolo fader,
case, $2020.00 value for $1075.00- Cine Special I,
1" F: 1 .9, 3" F:3.5, $395.00; B.&H. 70DA, 1"
F: 1 .8, 15mm. F:2.5, 33/," F:3.3 Cookes, $245.00;
H-16 DeLuxe Bolex, 1" F: 1 .9, 16mm. F:2.8, 3"
F:2.8, Comb. Case, $375.00; Victor 5, 1" F: 1 .5,
3" F:3.5, $135.00. Best buys . . Best trades
always. BASS CAMERA CO.. Dept. AC, 179 W.
Madison St., Chicago 2, III.
AUDIO AKELEY single system camera complete with
Akeley sound head, Gyro tripod, 3 lenses, view
finder, Maurer mixing amplifier. Complete with
cables, power supply and W. E. microphone.
CAMERA EQUIPMENT CO., 1600 Broadway, New
York 19, N.Y. Cable: Cinequip.
ARRIFLEX I. 35mm with 12v motor sunshade and
case (no lenses) used but perfect; one 200 ft., one
400 ft. Arriflex magazine (both like new). Make
reasonable offer. P.O. Box 312, Ridgewood, New
Jersey.
FOR SALE
GERMAN STILL 35mm cameras. Import your own.
Save importers and retailers profits. (About 35%).
Pay postman duties. Examples: EXAKTA. The only
completely versatile 35mm camera. With:
Automatic diaph. Zeiss Tessar
F/2.8 . . . . . $159. (duty $22.)
Automatic diaph. Isco Westanar
F/2.8 . $139. (duty $19.)
Automatic diaph. Schneider Xenon
F/1.9 $195. (duty $26)
Automatic diaph. Zeiss Biotar
F/2.0 . . $1 99. (duty $26)
Similar prices all other famous makes. All new.
Latest 1955 production in original factory packing.
Parcelpost and insurance included. No other
charges. Pre-payment through bank and inspection
on arrival guarantees you complete satisfaction
before we are paid. Experienced, (and objective)
advisory service, (please specify interests and re¬
quirements), and pricelists by return airmail. All
transactions on money-back basis. WORLDPOST.
TANGIER, MOROCCO.
CINE Special II chamber, used, perfect, $175.00.
BOX 1213, American Cinematographer.
Bell & Howell Cameras with rackovers.
Used gear and friction-head tripods.
Mitchell, B&H, or barrel-mounted enses — any focal
length, any brand.
Used mike boom, wheeled, lightweight.
Used 3-wheel dolly with seat; sturdy.
Single sprocket 35mm film counters.
Used Mitchell upright viewfinders.
Single lens and turret Eyemos.
Molded Plastic Film Rollers.
Processing machine parts.
Arriflex cameras.
Projectors.
PRODUCTION & TEST EQUIPMENT
MACHINE AND CAMERA PARTS
Always thousands of items in stock.
Prices and true statement of condition always cheer¬
fully given.
ART REEVES MOTION PICTURE EQUIPMENT
AND CAMERA SUPPLY CO.
7512 Santa Monica Blvd., Hollywood 46, Calif.
BERTHIOT Pan Cinor zoom lens, 20 to 60mm and
case, like new, $225.00. Bell & Howell FilmoRama
(CinemaScope) lens for 16mm camera, with camera
and projector mounting brackets, like new, $500.00.
Cine Special Model I 100' chamber, 1" F: 1 . 9 and
15mm F:2.7 W.A. lenses and Auricon sound blimp,
synchronous motor and blimp carrying case, new
condition, $1,000.00. 35mm Exakta Model VX with
50mm Zeiss Tessar 2.8 lens, like new, $185.00.
Rolleiflex with Zeiss Tessar F:3.5 and carrying case,
late model, $150.00. No. 4 1000 watt Victor
movie floodlights and rolling stands, used, $20.00
each. 16mm Hallen synchronous magnetic recorder,
demonstrator, $995.00. 16mm Franklin motion editor
rewinds and splicer, like new, $35.00. WEBSTER
VISUAL SALES, 539 Vine St., Chattanooga, Tenn.
WE BUY, SELL AND RENT PROFESSIONAL AND 16mm
EQUIPMENT, NEW AND USED. WE ARE DISTRIB¬
UTORS FOR ALL LEADING MANUFACTURERS. RUBY
CAMERA EXCHANGE, 729 Seventh Ave., New York
City. Established since 1910.
USED MOTION PICTURE EQUIPMENT— BARGAINS
PRECISION 1 6-35mm OPTICAL SOUND READ¬
ER, excellent . . . $115.00
F&B TRIANGLE FLAT with leg lock, excellent.... 15.00
AURICON PS-14 POWER SUPPLY UNIT, ex¬
cellent . . . . . . . . 31.50
16mm CORONA EDITOR, excellent . . 21.50
NOVAFLEX DOUBLE CARRIAGE EXTENSION
BELLOWS . . . . - . 35.00
ROBERT L. PERRY
96 Huntington Street, New London, Connecticut
Phone Gibson 2-3383
CINE Special II with 1" Fl .4 Ektar, wide angle con¬
verter, 40mm Fl .6 Ektar, 63mm R2 Ektar, all with
matching finders, two extra 100 ft. chambers, carry¬
ing case. All like brand new and guaranteed.
List over $2300.00. Sacrifice $1600.00. BOX 1215,
American Cinematographer.
SPECTRA three-color meter with sphere and case,
perfect condition, guaranted, $225.00. BOX 1212,
American Cinematographer.
( Continued on Next Pagej
American Cinematographer
August, 1955
497
Classified Ads
(Continued from Preceding Page )
FOR SALE
16MM HOUSTON K-1A . . . developing machines.
For reversal or positive film. Complete with
refrigerator units, temperature control, condensors,
evaporators, thermostats, etc. BRAND-NEW, prices
reduced! Write. AIR PHOTO SUPPLY, Dept. C-l,
555 E. Tremont Ave., New York 57, New York.
FILM: 35 rolls Super XX 35mm x 400', expiration date
’52. $75.00 for the lot. Also film for aerial cam¬
eras, all sizes. List on request. J. WALTON, P.O.
Box 1457, Tampa, Florida.
WANTED
F & B PAYS MORE
FOR USED 16/35MM EQUIPMENT
WRITE — WIRE — PHONE
FOR OUR CASH OFFER
FLORMAN & BABB MU. 2-2928
70 W. 45TH ST. NEW YORK 36, N.Y.
ARRIFLEX 35mm wanted, preferably stripped. NYC
area, private. ULster 2-0986 mornings.
RENTAL WANTED
ARRIFLEX 16 with 4 lenses and/or Arriflex 35 with
3 lenses for rent reasonable. BOX 1216, AMER¬
ICAN CINEMATOGRAPHER.
CINE Kodak "K" fl .9 lens and accessories, $80.00.
Also lenses, Norwood meter, B&H splicer, Cine
Kodak tripod, etc. GRAYSON, Box 4, New York 53,
New York.
FOR SALE — Model 1 1 Ansco Black and White Den¬
sitometer — needs minor repair — priced for quick
sale at $100.00. THE CALVIN COMPANY, 1105
Truman Road, Kansas City 6, Missouri.
WANTED
WANTED
Mitchell — Akeley — B&H — Wall — Eyemo
Cameras — Lenses — Equipment
NATIONAL CINE EQUIPMENT, INC.
209 West 48th St. New York, N.Y.
POSITIONS WANTED
NEGRO — Catholic, experienced cameraman, 35mm
newsreel, 16mm color productions, editing, light¬
ing, titling, also projectionist. MALCOLM MYERS,
3424 Clark Ave., St. Louis 3, Missouri.
CAMERAMAN IN SOUTH AMERICA, Chile, available
for educational, industrial, commercial, T.V., 16 or
35mm films. Also accept partner producer. V. VAL¬
DIVIA, P.O. Box 2985, Santiago, Chile, S.A.
CAMERAMAN-writer-editor: experienced cinematograph¬
er have traveled throughout the USA on assign¬
ments. Will take overseas duty, underwater, etc.
Can also edit, prepare scripts, direct. College back¬
ground, young, 35. Full particulars write BOX
1217, American Cinematographer.
WANTED
PRODUCTION EQUIPMENT, LABORATORY EQUIPMENT,
EDITING EQUIPMENT, 16mm. and 35mm. FROM SIN¬
GLE ITEMS TO COMPLETE STUDIOS. TRADES AC¬
CEPTED.
THE CAMERA MART, INC.
1845 Broadway Circle 6-0930 New York 23, N.Y.
IMMEDIATE CASH PAYMENT FOR
CAMERAS AND EQUIPMENT
NEED EYEMOS (SINGLE LENS AND TURRET)
MITCHELLS, ARRIFLEX, DE BRIES, B&H STANDARDS
AND HI-SPEEDS, WALLS, AKELEYS, CINE SPECIALS,
AURICONS, MAURERS, FILMOS. ALSO BALTARS,
COOKES AND OTHER LENSES. SOUND STAGE
LABORATORY AND EDITING EQUIPMENT OF ALL
TYPES REQUIRED. PLEASE SHIP INSURED OR FOR¬
WARD DESCRIPTIONS AIRMAIL. IMMEDIATE PAY¬
MENT.
GORDON ENTERPRISES • 5363 N. Cahuenga
NORTH HOLLYWOOD, CALIFORNIA
WANTED TO BUY FOR CASH
CAMERAS AND ACCESSORIES
MITCHELL, B&H, EYEMO, DEBRIE, AKELEY ALSO
LABORATORY AND CUTTING ROOM EQUIPMENT
CAMERA EQUIPMENT COMPANY
1600 BROADWAY, NEW YORK CITY 19
CABLE: CINEQUIP
BALTARS, SONNARS wanted, Arriflex mount, also gear-
head tripod. ULster 2-0986.
WANTED FOR SPOT CASH
Used Mitchells, Auricons — other Cameras
Moviolas — Editing Equipment — Projectors
Spotlights — Sound Equipment
All Types Used Equipment
From a Splicer to a Complete Studio
Write — Wire — Phone
or Send Equipment in for Spot Cash
FLORMAN & BABB Murray Hill 2-2928
68 West 45th Street New York 36, New York
IF IT WORKS — WE WANT IT
Cameras, Dollies, Lenses, Lights,
Moviolas, Printers, Recorders,
Studio or Laboratory Equipment.
We also trade or take consign¬
ments. Set your own price — we’ll
get it.
Western Union-WUX New York,
Phone PL 7-0440
S.O.S. CINEMA SUPPLY CORPORATION
Dept, fe Cable: SOSOUND
602 W. 52nd Street New York 19, N. Y.
LABORATORY & SOUND
SOUND RECORDING at a reasonable cost. High
Fidelity 16 or 35. Quality guaranteed. Complete
studio and laboratory services. Color printing and
lacquer coating. ESCAR MOTION PICTURE SERVICE
INC., 7315 Carnegie Avenue, Cleveland 3, Ohio
Phone Endicott 1 -2707.
LABORATORY Services 16mm-35mm. Developing, Print
ing & Reduction. Reasonable. Quality guaranteed
NATIONAL FILM PRODUCTIONS, 955 Diana Ave.
Akron, Ohio.
PRINTING! REASONABLE PRICES! FREE ESTIMATES!
Sebastian 10934-C Hamlin, North Hollywood, Calif.
ROCKY MOUNTAIN 16MM HEADQUARTERS
Processing — Printing — Recording
Editing — Production — Rental — Sales
DuPont, Eastman and Fastax films in stock.
Write for Price List.
WESTERN CINE SERVICE, INC.
114 E. 8th Ave., Denver 3, Colo. TAbor 5-2812
LOWER cost 16mm editing and sound recording —
—only 22 miles from Hollywood. EL RANCHO
AUDIO, 26236 Fairview Avenue, Lomita, California.
DAvenport 6-4925.
Here . . .
on this page
you'll find
BARGAINS
GALORE
in
New and Used Equipment
of all kinds.
A good place for YOU
to sell, too!
Rates Are Low!
498 • American Cinematographer • August, 1955
MOVIES IN LAW ENFORCEMENT
(Continued from Page 495)
scene of crime. A sweep of the camera
will record the scene truthfully; then,
at the time of trial the jury may see
the scene as it actually was, not the way
it looked many months later,” the chief
law enforcement officer of this 4,000
square mile county observed.
The Sheriff envisions the use of 16mm
movies of well-known burglers or sex
criminals who have been arrested, in
orientation lectures for patrolmen.
“Such films could be loaned to other
police agencies to give these depart¬
ments an accurate picture of a crim¬
inal’s appearance and mannerisms. A
motion picture would be far superior to
a mug shot,” Elder asserted.
Initially, Sheriff Elder was concerned
with possible public reaction to the use
of photography in this manner, but its
advantages in furthering public protec¬
tion are felt to transcend objections.
Today’s drunk driver has a chance
of being “discovered” by the movies.
In fact, his spectacle may lead to a long
contract.
WHAT’S NEW
( Continued from Page 450)
r
Film Viewer
An advanced type 16mm film viewer
which projects a large “aerial” image
3" by 4" is announced by S.O.S. Cinema
Supply Corp., New York, N. Y. Mechan¬
ism embodies roller-smooth action and a
big, clear image without a flicker. Other
features include coated rotary prism,
self-lubricating bearings, and built-in
cueing device. Measuring 16" x 10" x
12", it weighs 9 lbs. List price is
SI 24.95.
ft
Good show!
yy
Coming from a fellow professional, those are mighty important words to
any cinematographer. And important aids in making that “ good show " are a movie
camera that's handy wherever you go, yet has the features you need for
theater-quality productions . . .and a projector that's a real professional partner.
Cine-Kodak K-100 Camera
The exciting new 16mm. K-100 Camera combines
unusual movie-making ability with a price well be¬
low that of other fine cameras. Want extra-long
scenes? A 40-foot pull is provided with one winding
of its spring motor. For special effects you can adapt
the K-100 to hand-cranking, permitting back-wind¬
ing for fades and dissolves. You can equip it for
electric drive. Shoot single frames, too ... or any
speed from 16 to 64 frames per second. It has tele¬
scopic finders. Takes 100-foot rolls of single- or
double-perforated film. The lenses? They’re Kodak
Ektar — and optical engineers have produced no finer!
Kodascope Pageant Sound (and silent) Projector
The Kodascope Pageant Sound Projector delivers
sharpest detail — from the core to the corners of your
screen. You can enjoy quiet operation and long pro¬
jector life without oiling — another Pageant Sound
Projector exclusive! Turn your silent movies into
sound presentations by simply plugging in a mike
for personal narration. Add extra dramatization
through a phono adapter and musical background.
Or enjoy readily rented 16mm. Hollywood sound
productions. The Pageant’s unique Fidelity Control
enables you to focus the scanning beam to get the
most from any optical sound track.
PRICES: The Cine-Kodak K-100 Camera, with Kodak Cine Ektar II 25mm. / 1/.1 9 Lens,
$269; with Ektar // 1.4 Lens, $369. The Kodascope Pageant Sound Projector, Model 7K2,'
with f! 1.6 lens, 750-watt tamp, and 1600-foot reel, $425. Optional lamps and lenses available .
( Kodascope Royal Projector, Pageant-styled for superb 16mm. silent shows— $240.) Prices
include Federal Tax where applicable and are subject to change without notice. Ask your
Kodak dealer about small down payments and easy terms.
EASTMAN KODAK COMPANY
Rochester 4, N. Y.
color harmony
color-correct *
prints ....
You’ll also
have production harmony
every time you schedule
these Byron 16mm facilities:
scri pt
art
titling
animation
editing
sound effects
recording
location photography
music library
sound stage
complete black-and-white
laboratory facilities
precision magnetic striping
Quality conscious? Bvron color-correct* prints are
what you want. Get duplicate . ‘ cU processed
with exacting fidelity — color p. in balance that
retain all their natural beauty with full depth and
clarity. Color-correct* is a Byron exclusive, the result
of many years of engineering research and development
by a pioneer laboratory — staffed by master craftsmen
— working with the finest equipment at top level
efficiency. Choose the leader in the 16mm color field.
Time important? Try our 8-hour service.
byron
Studios and Laboratory
1226 Wisconsin Avenue, N.W., Washington 7, D.C. DUpont 7-1800
*Reg. U. S. Patent Office
PRACTICALLY EVERY 16MM FILM PRODUCER IN THE WESTERN HEMISPHERE IS A CLIENT OF BYRON
THE MAGAZINE OF MOTI
SEPTEMBER • 1955
PHOTOGRAPHY
clairmont films
/0ThisteM'“
Exposure Determination for Variable Shutter Speeds
• Make-up For Today’s Color Films
• Pre-printing Preparation of 16mm Films
25c
FOREIGN 35c
VETERAN CAMERAMAN MARCEL REBIERE, left, and Assistant Fred Rebiere, who shot the first March of Time, because the film is
Montague are working in extreme heat as they film glass-block so good that it performs perfectly no matter what temperatures
production. “We always shoot with ‘Superior’ 2,” comments we run into while telling the photo story of American industry.”
“We couldn’t shoot in extremes of light and temperature
without Du Pont ‘Superior’ 2 Film!”
says Arthur J. Lodge, Jr., Producer of the Peabody Award Winner “Industry on Parade
IN CUTTING ROOM, Producer Arthur Lodge, left,
shows product to G. W. “Johnny” Johnstone, cen¬
ter, Radio-Television Public Relations Director of
the National Association of Manufacturers— spon¬
sors of “Industry on Parade.” At right, N.A.M.’s
Newsreel Editor Roger Young is impressed with
finished film . . . the result of using “Superior” 2.
“On the same day I’ve had one crew con¬
tending with 200° heat in a steel mill
while another was filming at 20° below
zero in a bakery’s bread-freezing room,”
recalls Arthur Lodge. “But rugged ‘Su¬
perior’ 2 keeps our cameras rolling in
every conceivable location: planes, sub¬
marines, coal and iron mines, steel mills
and rubber plants. Its consistent speed
and gradation enable us to shoot with
confidence far ahead of our lab schedule.”
It takes 20 cameramen shooting film at
the rate of 4,000 feet a week to keep more
than 241 television stations supplied
with the popular “Industry on Parade”
15-minute program.
“Our crews get film shipped to them
from Du Pont offices all over the coun¬
try,” Producer Lodge goes on. “Both
before and after exposure the film is
subjected to intense heat and cold . . .
to dampness and rough riding in auto
trunks. Yet, frame for frame, the results
are always consistent enough to run on
the same reel.
“Another advantage of using Du Pont
Film is the customer service extended
by Du Pont representatives. It means
so much whenever we need broken lots
or superfast delivery.”
FOR MORE INFORMATION about “Superior” 2
and other Du Pont Films . . . write or call
the nearest District Office (listed below) or
the Du Pont Company, Photo Products De¬
partment, Wilmington 98, Delaware. In
Canada: Du Pont Company of Canada Lim¬
ited, Montreal.
DISTRICT OFFICES
ATLANTA 5, GA . 805 Peachtree Bldg.
BOSTON 10. MASS . HO Federal Street
CHICAGO 18, ILL . 3289 N. California Ave
CLEVELAND 14, OHIO . 1033 Union Commerce Bldg.
DALLAS 7, TEXAS . . . 1628 Oak Lawn Ave.
LOS ANGELES 38, CALIF . 7051 Santa Monica Blvd
NEW YORK 11, N. Y . . 248 West 18th Street
PHILADELPHIA 2. PA . 225 South 15th Street
U. 5. fat Off
Better Things for Better Living . . . through Chomitlry
DU PONT MOTION PICTURE
FILM
PROFESSIONAL
JUNIOR
-MOST
They’ve been standing on their heads,
trying to copy PROFESSIONAL JUNIOR
Tripod — but nobody can get around our
exclusive patented features.
Features which make PROFESSIONAL
JUNIOR tops in the motion picture,
TV and commercial film world. First
choice of professional cameramen.
First choice of our Armed Forces.
Is your work "dragging” for want
of an outstanding tripod? Get
PROFESSIONAL JUNIOR—
the price hasn't changed in
1 5 years. Get it today.
Professional Junior
BEARED HEAD
interchangeable with
Friction Head on
same tripod.
■■I
New Professional Junior Adjustable wood
BABY TRIPOD
— for friction and geared Heads.
Has substantial shoe and spur.
Measures from floor to flange 25" extended —
17" collapsed.
FRANK C. ZUCKER
(Jflni€RH €oi
uipmenT Co.
to you
• •
'» Vv-'/
whose
intelligent
demand
has
US
create
EEEH333
. . . our
sincere
gratitude
and
appreciation
CONSOLIDATED
FILM
INDUSTRIES
959 Seward St., Hollywood 38, Calif.
1740 Broadway, New York 19, N. Y.
AMERICAN
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
PUBLICATION OF THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
llllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll
Arthur E. Gavin. Editor
Marion Hutchins, Editorial Assistant Emery Huse, Technical Editor
Editorial Advisory Board: John Arnold, Arthur Edeson, Lee Garmes, Charles
Rosher, Leon Shamroy, Fred Gage, Glenn R. Kershner
Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Calif.
Telephone: Hollywood 7-2135
llllllllllllllllllllllllllllllllll!llllllll!llllllllll^
VOL. 36 SEPTEMBER • 1955 NO. 9
In This Issue
ARTICLES
Exposure Determination for Variable Shutter Speeds — By Frank P. Fritz 524
Make-up Magic for Today’s Color Films — By Walter Ramsey - - - 526
Pre-Printing Preparation of 16mm Films . 531
Photography at 40.000 Feet — By William Daniels, 4.S.C. - - - 532
Filming “The African Lion” . 534
Innovations Highlight New S6 Magnetic Recorder — By Frederick Foster 536
AMATEUR CINEMATOGRAPHY
Filming a Prize-winner— By Clifford V. Harrington . 538
Shooting Movies From The Air — By Dean Riggins . 540
FEATURES
Hollywood Bulletin Board . 508
What’s New in Equipment, Accessories, Service . 510
Industry News - - . 520
Hollywood Studio Production . 554
ON THE COVER
CINEMATOGRAPHER William Mellor. A.S.C. and his camera assistants
line up a closeup shot of Elizabeth Taylor and Rock Hudson for “Giant,”
which producer-director George Stevens (right) is producing for Warner
Brothers. Stately Virginia manor house near Charlottesville provides back¬
ground for the romantic action here. Photo by Floyd McCarty.
aiBllllliillllllllllllMliiM . IIIIII11IIIIIIII1III1II . . . . . . ■|:i:iiiit . . .ill . . . .
H AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. §§
U c. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. Entered as second class matter =
M Nov- 18> 1937> at ,the postoffice at Los Angeles, Calif., under act of March 3, 1879. SUB- S
g SCRIP! IONS: United States and Canada, $3.00 per year; Foreign, including Pan-American S§
}g Union, $4.00 per year. Single copies, 25 cents; back numbers, 30 cents; foreign single m
m copies, 35 cents; back numbers, 40 cents. Advertising rates on application. Copyright 1955 B
§g by A. S. C. Agency, Inc. g
lllllllllllllilllllllllllllllllllllllilllllllllllillllllllllllllllllllllllillllllllllllllllllllll^
insure the investment as can no
in addition to filming the world’s greatest
the
A S
t
; matchless technical perfection which a Mitchell camera brings
to a film can
For over 25 years constant research and engineering by Mitchell has
continued to produce, year after year, the most advanced and only truly
professional motion picture camera. It is traditional of Mitchell cameras that
films, they are to be found wherever
of filming are being successfully used.
dablv serving such varied fields as
ernment, the Aimed Services, and
, Edu
or Motion Picture Studios.
mum
■aaU
Tom Kelley Studios shoots a TV commerci
for North American Airlines with this Mitchell
35 "NC" Ceasar Romero is shown at center, ' j
Mitchell cameras are created, not mass produced— the same supreme custom
workmanship and smooth, positive operation is found in each Mitchell camera,
16 mm or 35 mm. Available to give Mitchell Cameras almost limitless capabil¬
ities, are the finest of professional accessories.
'ne of fhree^5?!tchell 35mm Cameras used by
Productions on the “I Love Lucy" series with Desi Arnoi,
and Lucille Ball.
Manufacturers and
Distributors of:
Bioop Punches
Cans, Film Strip
Editing Tables
Film Bins
Film Racks
Flanges
Film Editing Gloves
Leader Stock, 16 & 35 mm
Measuring Machines
Plastic Cores, 1 6 & 35 mm
Reels, 16 & 35 mm
Reels, Non-Magnetic
Split Reels
Rewinds
Sound Readers
Splicers
jfl
Storage Cabinets
Vault Cans
Scotch Tape
Cloth Tape
Sound Recording Tapes
HOLLYWOOD
Mu
FILM COMPANY
t
, , , , g.u»iiiro'iiwii^lwW','l^IIL i*1""**
precision film editing equipment
956 NO. SEWARD ST.
HOLLYWOOD 38, CALIF
HO-23284
PERM LOCK MIRROR
GUARA ITEES POSITIVE
MIRRO ALIGNMENT
Only a Perma-Lock snaps into
position and stays in position.
This insures positive mirror
alignment, perfect focus after
every globe removal. Even a
severe jolt can’t disalign mirror,
TODAY, WRITE FOR COLORFUL NEW
CATALOG-BROCHURE "NEW DIMENSIONS IN
CONTROLLED STUDIO LIGHTING’’
LIFETIME BEAM PILOTS }
GUARANTEE FLARE-FREE
SPILL-PROOF LIGHTING
Encircling every Fresnel lens-zone
are special, opaque bands, fused
to the glass. These Beam Pilots
prevent flare and spill-light by
controlling side-beam deflection,
and without losing useful light.
combine all 3
DUAL CONTROL FOCUSES
BOTH FRONT AND REAR
New dual-focus control is twice as
convenient, twice as accurate
as unsteady, old-fashioned one
lever focusing. Even-Action focus
is always smooth, absolutely
precise and accurate from spot
to flood positions.
'v.;
world headquarters for the finest engineered lighting & production equipment (sales and rentals).
1117 North McCadden Place
Hollywood 38, California
r
BROOKS first f»r ■:
photographic Need.
11 -
NEW
ARWHW
16
«>«• *<«■ m»,W
„„ m 9 'ens . 170.00
16mm Xen 5 \ens . 200.00
25mm Xenon 1-5 .
75mm Xenon f/2 len
■k W
•. « G\
■ ^ v r
JRtCON-CtNE
VOICE
ft. mag. camera
$695.00 <
. 575.00
0 . New
iUricon-Pro, 600 «. Mag. $1l65 00
\i|rfron Super, 1200 ft- 33,9.25
m ,/3 5 lens . M,’«S
KUar 150mm /3 & lens . 239.95
KUar 40°mm '/5jrom 20mm to 349.30
Bole* Pa" ° ens . . .'V, glens 600.00
60mm1fi/ 25mm to 75mm f/2.8 lens 210.00
Astro 50mm . . . 395.00
K 300 mm fA® g ^ 'Dlsp.ay of
PBo,o EquiPment_
Store Hours 9 a.m. to 6 p.m.
Mondays 9 a.m. to 9 p.m.
BROOKS Cameras
45 KEARNY AT MAIDEN LANE
SAN FRANCISCO, CALIFORNIA
PHONE EXbrook 2-7348
I Ho
1 B u 1 1 e 1
llywon
tin B
id
0 a r d
TWO PRIZE CAMERAMEN — Loyal Griggs,
A.S.C., (right) Academy Award winning
cinematographer, was visited on the set of
“The Ten Commandments” at Paramount
Studio last month by Paramount Newsreel
cameraman V. Parkash, who won Britain's
Academy Award for his camera coverage
of the funeral of Mahatma Ghandi. Parkash
is en route back to New Delhi, India after
a year on loan to the United Nations in
New York. Here Griggs shows him the new
VistaVision camera.
Leon Shamroy, A.S.C., three-time Acad¬
emy Award winner, played a hero’s
role on the set last month when he took
the brunt of a blow from a falling spot¬
light lens, which otherwise would have
injured actress Jennifer Jones. Incident
occurred during shooting of scene for
20th Century-Fox’s “Good Morning,
Miss Dove,” directed by Henry Koster
and starring Miss Jones.
• • •
Philip Tannura, A.S.C., started his fifth
consecutive year as director of photo¬
graphy of “The Burns and Allen Show”
when the company started shooting its
new series at General Service Studio
last month. Shooting of first show in the
1955-56 series was marked by innova¬
tion of using background projection —
rare for TV film production. Company
plans to utilize system in more and
more of its shows, according to Tan¬
nura.
• • •
• •
The A.S.C., last month, admitted to
membership Ray Foster (Active), Nor¬
wood L. Simmons, of Eastman Kodak
Co. (Associate), and Walter F. Farley,
Jr., of Eastman Kodak Co. (Associate).
• • •
Mack Stangler, A.S.C. is again shoot¬
ing the “Liberace Show” for Guild
Films, Inc. Stengler directed the photo¬
graphy of this popular TV film show
last season, and will shoot it this year
in addition to the “Ina Ray Hutton
Show" and “It’s Fun to Reduce,” also
for Guild.
• • •
WILLIAM
SKALL
A.S.C.
William Ska II, A.S.C. is the latest top¬
flight feature film director of photo¬
graphy to swing to TV film production.
Skall has been signed to photograph the
“Father Knows Best” series of TV films
for Screen Gems, producing at Columbia
Studio, Hollywood.
CHARLES
ROSHER
A.S.C.
Charles Rosher, A.S.C., was cited last
month by Photographer’s Association of
America “for his artistry and skill as
the cinematographer who brought to the
screen a host of motion picture classics;
for his activity as a founder of the
American Society of Cinematographers;
and in recognition of his long member¬
ship in the PAA, reaching back to the
turn of the century.”
• • •
Dan Clark, A.S.C., photographed the
pilot film of Edgar Bergen’s new TV
show, tentatively titled “Do You Trust
Your Wife?” A quiz-type show, it was
photographed in the same studio in
which the Groucho Marx show is filmed
each week. Like the latter, the Bergen
show is filmed with eight cameras (4 on
and 4 off) with the audience participat¬
ing.
508
American Cinematographer
September, 1955
. . . assured by Turn's Flaw Detection Method
— filmed at Northrop Aircraft with
Auricon 16mm Sound Cameras
Ml
Cralen Enterprises, Inc., filming William Cox of Northrop Public Relations, as he interviews
Robert Love, jet ace, after test flight in Northrop F-89 all-weather interceptor.
The full story of flaw detection in metals with Turco “Dy-Chek” Dye Penetrant is the subject
of a new Training Movie in sound and color, filmed at Northrop Aircraft with Auricon 16mm
Sound-On-Film Cameras.
The film shows how"Quality-Controfchecks metal parts for the Northrop F-89 all-weather jet
interceptor right on the production line, with Turco’s “Dy-Chek” inspection process!
Turco’s new Training Movie on
“Dy-Chek” Flaw-Inspection Process, is
shown during filming at Northrop
Aircraft, with Craig Curtis (at camera)
and Lennie Blondheim, both of Cralen
Enterprises, Inc., Hollywood, California.
This film is another example of how
Training Movies and Industrial Motion
Pictures can be produced with precision
and fidelity using Auricon 16mm Sound
Cameras. Professional Auricon Built-in
Features, include Self-blimping Camera
design, Synchronous Motor Drive,
Auricon-Electromatic Take-up, etc. Many
producers and cameramen have named
Auricon. .."the finest 16mm Sound Camera
ever built!”
Auricon Cameras are sold with a 30-day money-back guarantee.
You must be satisfied! Write for free illustrated Auricon catalog.
co
A PRODUCT OF
DT-BACH, INC,
6902 Romaine Street, Hollywood 38, California
TRIPOD
*325 00
PORTABLE POWER UNIT
*26930
CINE-VOICE
*695 00
AURICON PRO-600
*1497.00
SUPER 120C
*4652.15
SOUND RECORDER
$3359.00
MANUFACTURERS OF SOUND-ON-FILM
RECORDING EQUIPMENT SINCE 1931
. . . in equipment, accessories, service
Cine-Voice Conversion
Filmtronics, Inc., 96 Huntington St.,
New London, Conn., offer a 400-ft. con¬
version of the Auricon Cine-Voice cam¬
era for newsreel, TV film and other pro¬
fessional uses.
The camera is cut down to the lowest
possible point to minimize strain on the
motor. The case is squared off at the
ends for improved appearance and com¬
pactness and to enhance the camera’s
overall styling.
Features include 400-ft. magazine af¬
fording 10 minutes continuous record¬
ing; no extra motor drive; hinged door;
improved footage counter ; internal
blimping; neon signal light; sound track
exposure lamp switches off and on auto¬
matically with camera motor; turret ro¬
tating handle; and improved film guide
rollers.
List price is $695 with 400-ft. maga¬
zine, $513 without magazine.
Cooler Projection Lamp
Sylvania Electric Products, Inc., an¬
nounce a new ceramic-top projection
lamp for home movie and slide projec¬
tors. Tradenamed the Blue Top projec¬
tion lamp, because of a jewel-hard cer¬
amic “bonnet" bonded to the glass, the
lamp concentrates maximum light op-
•
posite the lens, creating a brighter, clear¬
er image on the screen.
The blue ceramic “bonnet"’ is baked
on and will not chip, scratch or peel,
even after many hours of steady opera¬
tion. This “bonnet"’ innovation dissipates
heat more efficiently and prevents light
leakage. New lamp is available in a full
range of sizes and types to fit all pro¬
jectors.
Rack-over for B&H Cameras
Cine Products Co.> P.O. Box 135,
Westlake, Ohio, offers a precision rack-
over for Bell & Howeli model 70 cam¬
eras, which is also adaptable to the Bo-
lex H-8 and H-16 cameras. Device
mounts on standard tripods. Cam locks
in position to avoid accidental loss of
field. List price is $28.50.
Video Film Labs Move
Video Film Laboratories, which since
1949 has been servicing east coast film
makers with 16mm reversal processing,
and 16mm negative and positive film de¬
veloping, have moved to larger quarters
from 131 West 23rd St., N. Y. City, to
350 West 50th Street, New York, N. Y.
16mm CinemaScope Lens
A 16mm CinemaScope projection lens
adaptable to all popular 16mm projec¬
tors is offered by Bausch & Lomb Opti¬
cal Co., Rochester, N. Y. Lens is a com¬
bination prime and anamorphic single¬
barrel lens and is offered in 2-inch focal
length. It may be had in other focal
lengths on order.
Lens requires no brackets or supports,
is 6%/r in length and weighs 7% ounces.
List price with one adapter is $124.50.
(Cut shows lens with an assortment of
adapters.)
Editor Frame Counter
For use by Methods Engineers and
others who use 16mm motion pictures
for time and motion study, an accessory
frame counter is now available for the
Craig Projecto-Editor, Model KE-16.
Each unit digit on the counter will either
add or subtract. Counter can be set at
zero. List price is $37.50. Manufacturer
is the Kalart Company, Inc., Plainville,
Conn.
Anti-static Solution
Anti-Stat #6 is tradename of product
announced by Braun Laboratories rec¬
ommended for use in eliminating dust
and static from all metal, glass, plastic
and film surfaces. Packed in 12-oz. aero¬
sol spray can, list price is $2.95.
16mm Continuous Projector
A new 16mm projector designed to
improve quality of TV film programs by
providing a continuous, uniformly-illu-
( Continued on Page 512 )
510
American Ci n em atogr aph er
September, 1955
7
PRINTS BY CAPITAL
FILM LABORATORIES, INC.
Formerly McGeary-Smith Laboratories , Incorporated
1905 Fairview Ave. N. E., Washington 2, D. C.
WRITE FOR OUR LATEST PRICE LIST AND ILLUSTRATED BROCHURE
THE SERVICE LAB
THAT SERVES THE
NATION
® Scotch Track Process
® RCA Sound Recording
Scientific Processing
• Creative Editing
Matchless Printing
is our business
personalized
service
East
Now
Celebrating
Our 25th
Anniversary
ROUND-THE-CLOCK SERVICES
Negative Developing
•
First Print Department
Ultra Violet and
Flash Patch Printing
•
16mm and 35mm
Release Printing
•
Kodachrome Printing
63 Editing Rooms
SPECIAL TV SERVICES
MOVIELAB FILM LABORATORIES, INC.
619 West 54th Street, New York 19, N. Y. JUdson 6-0360
. . . in equipment, accessories, service
(Continued from Page 510)
minated image, is announced by East¬
man Kodak Co., Rochester, N. Y. Oper¬
ating at 24 f.p.s., mechanism is driven
by 1800 r.p.m. synchronous motor which
is loosely coupled to a small sync motor
in the sound head to keep the two motors
in phase during starting and stopping.
Complete data and price may be had
by directing inquiry to Eastman Kodak
Motion Picture Sales Dept.
35mm Projector Bargain
Semler Industries, Inc., 6853 Lanker-
shim Blvd., North Hollywood. Calif., of¬
fers a limited number of U. S. Navy
surplus 35mm Holmes projectors at the
bargain price of SI 14.50. Machines are
in first class shape* ready for instant use.
have mazda lamps, and standard film
magazines, but no amplifier or speaker.
8mm Reels and Cans
Eastman Kodak Company, through its
retail outlets, are again making available
200- and 400-foot 8mm metal reels and
cans for those who prefer metal instead
of plastic. Cans are 50^ and 80^ each
without reels, or SI. 15 and SI. 75 with
reels.
Company states that the plastic reels
and cans will continue to be available.
Filmline Processor
Filmline Corp., Erna St., Milford.
Conn., announce its Model R15 16mm
film processor with a capacity of 900 ft.
per hour. Features include new type
overdrive, removable magazines for day¬
light operation, and solution units re-
(Continued on Page 514)
512
American Cinematographer
September, 1955
F & B PRO CINE-THE MOST
TRIPOD IN THE
MEDIUM WEIGHT CLASS
FOR ALL CAMERAS
Does your tripod include these
exclusive PRO CINE features?
A. External camera tightening knob with angle gears
B. Telescoping, offset tripod handle
C. Second tripod handle position
D. Large positive pan and tilt locks
E. Brass shaft for longer wear, no sticking
F. Separate, precision machined friction plate
G. Four bolted leg supports with leg rest ledge
H. Aluminum leg tops — no holes drilled thru wood legs
I. Single knob leg tightening — for even tension and no warping
J. Superb, seasoned and waxed hardwood legs, will never stick.
Finest Precision Craftsmanship and Materials
FRICTION HEAD UNCONDITIONALLY GUARANTEED FOR FIVE YEARS
MADE IN U.S.A.
EXCLUSIVELY BY F&B
Price $145.00
Heavy Duty Fibre Case $20.00
Available direct
or at leading camera dealers
F i B SPLIT REELS
Ever Have the Center Drop Out?
Eliminates FLANGES and
risky TIGHTWINDS
Simply open Split Reels — slip in film on
core and work with safety, speed and
accuracy.
400 ft. SPLIT REEL $4.50
800 ” ” ” 6.00
1200 . 7.50
1600 ” ” ” 9.00
IMMEDIATE DELIVERY
Now the
LARGEST STREET-LEVEL
SHOWROOM IN NEW YORK
devoted exclusively to MOTION PICTURE
EQUIPMENT. Some of the expanded facili¬
ties we will offer to film personnel are
these:
COMPLETE RENTAL SERVICE . . . Cam¬
eras, lighting, editing, recording and grip
equipment.
cdNVENIENCE . . Street-level, midtown
location . . . Have your crews assemble
at F&B.
EXPERIENCED TECHNICAL PERSONNEL .
who understand your filming problems.
COMPLETE EQUIPMENT MAINTENANCE &
ENGINEERING SHOPS . . . Staffed by ex¬
pert technicians.
NEW CREDIT PURCHASE FACILITIES .
extended time payment service, from 90
days to 36 months.
LOCATED IN MIDTOWN MANHATTAN.
Near att transportation, hotels and rec¬
reation centers.
F&B EQUIPMENT CATALOG— 24 Pages.
Lists all equipment you need for film
production.
F&B RENTAL PRICE LIST— 16 Pages.
Complete pocket-size list. Everything at
your fingertips about the cost of renting
equipment for Production, Projection, Re¬
cording, Lighting and Editing.
BOTH CATALOGS FREE FOR THE ASKING
SHOOTING COLOR IN A CAVE!
HUGE INDUSTRIAL
INTERIORS
AUDIENCE
REACTION SHOTS
COLOR
NEWSREELS
F&B
NOMINAR 1"
f/0.95 LENS
In C mount for all 1 6mm cameras
“THE FASTEST CINE LENS IN THE WORLD”
More than twice as fast as f/1.4
Definition, resolution and contrast as good or better
than any comparable lens.
Price $165.00 $9.90 FET
Including —
Series VI filler holder, sunshade
Screw-on dust covers
Leather carrying case
FLORMAN & BABB
68 West 45th Street, New York 36, N. Y.
Phone: Murray Hill 2-2928
Cable Address — FLORBABB, N.Y.
ONE CAMERA
16mm or 35mm
in 10 SECONDS!
Cameretteu/35
Reflex Motion Picture Camera
Th* perfect camera for the motion picture film
maker working in both 16mm or 35mm color
•r black and white.
LOOK AT THESE ADVANTAGES—
• The same lenses, same motor drives, same
sound blimp and accessory equipment used
for both 16mm or 35mm — to convert simply
change the magazine.
• Precise rugged movement
• Reflex viewing
• 200 degree adjustable shutter
• Divergent three lens turret
• Automatic film gate 400’ magazines 16 or
35mm — the 1 6mm magazine will accom¬
modate daylight spools as well as standard
core load.
• Light weight — only 14 pounds with 3
lenses, 400' magazine, and 6/8 volt motor.
Write for brochure
patents coutant-mathot
Manufactured by Ets. Cine. Eclair, Paris
WHAT’S NEW IN EQUIPMENT, ACCESSORIES, ETC.
(Continued from Page 512)
movable for easy cleaning. Size of pro¬
cessor is 76" by 48" by 24". Weight is
450 lbs., crated. Price is $2495. F.O.B.
factory. Descriptive literature is avail¬
able.
How-To-Do-lt Books
A complete series of low-priced “how-
to-do-it' books for amateur movie mak¬
ers is announced by the American Photo¬
graphic Book Publishing Co., Inc., 33
West 60th St., New York 23, N. Y.
Each of the 12 books have been writ¬
ten by photographic experts able to write
about their advanced techniques in a
way that can be understood by even the
beginning cine amateur. Each volume
has been carefully illustrated and dia¬
grammed to simplify or improve ama¬
teur movie making procedures.
Following are titles of the 12 books
which sell for $1.75 each:
How to Make Home Movies.
How to Direct Your Own Movies.
How to Title Your Own Movies.
How to Make 8mm Movies.
How to Plan a Home Movie Script.
How to do Home Movie Tricks.
How to Make Good Color Movies.
How to Edit Your Own Movies.
How to Make Vacation Movies.
How to Make Movie Cartoons.
How to Act for Home Movies.
How to Add Sound to Your Home
Movies.
16:rjm-35mm Sound Reader
An optical sound reader for 16mm
and 35mm films selling for $119.50 is
offered by Filmtronics, Inc., 96 Hunting-
ton St., New London, Conn.
Specifications and features include
1 15-v 60 eye. AC operation; power con¬
sumption, 35 watts; uses CE-25 C photo¬
cell ; 2-watt power output ; fused for safe¬
ty; highly polished drum with needle¬
point bearing; narrow width (4" wide)
allows reader to be placed close to most
viewers for synch editing.
Movie Frame Copier
A precision optical device for copy¬
ing frames of uncut 16mm color or
black-and-white movie film onto 35mm
still camera film is announced by Cen¬
tury Photographic Equipment Co., 10427
Burbank Blvd., North Hollywood, Calif.
Trade-named the Duplikin, models are
available for use with Exakta, Leica,
Contax, Pentacon, Practika, and Canon
35mm cameras. List price is $39.50.
Film Processors
An economical, low-priced line of au¬
tomatic 16mm reversal, negative-positive
him processing machines is announced
by Milford Film Machine, P.O. Box 343,
Milford, Conn. Equipment features day¬
light operation, quality controls, slip-
clutch him drive, and automatic opera¬
tion. Prices start at $800, F.O.B. factory.
Descriptive brochure is available.
514
A M ERIC AN Cl N EM ATOGR AP H F.R
September, 1955
CAMERETTE
Now Available with Two
Important New Features!
★ Adapted for CinemaScope
★ Sound Blimp with Reflex Viewing
Now for the first time — a lightweight camera for CinemaScope photography — the
35mm Camerette with CinemaScope aperture, with full CinemaScope field visible
through the reflex viewer. Auxiliary turret and matte for regular photography.
New magnesium alloy blimp with viewing through the taking lens at all times through
the Camerette’s reflex finder, making a lightweight, fully blimped combination 16mm
or 35mm camera. Synchronous motors — 110-v single phase, 220-v three phase.
ONLY THE CAMERETTE HAS
W rite for descriptive literature
Reflex viewing through the taking
lens at all times for both film sizes.
Patents Coutant-Mathot
Manufactured by Eclair, Paris
BENJAMIN BERG COMPANY
1410 N. VAN NESS AVE. • HOLLYWOOD 28, CALIF. • Hollywood 9-8023
Sound blimp with reflex viewing,
making a fully blimped, instantly
interchangeable 16mm or 35mm
camera.
Ability to use both 16mm and 35mm
film in one camera.
The Profitable All-Purpose Film Processor
BRIDGAMATIC JR. 1 6mm Automatic Reversal Develop¬
ing Machine — Ideal for TV Stations , Photo Finishers ,
Industrial or Documentary Producers and Universities.
BRIDGAMATIC JR. REVERSAL assures quality pictures in
minutes — Spot news and sports events can be shown
immediately after they Occur. This is the perfect All-
Purpose Processor at a price anyone can afford. Reversal
speed 1000' per hour — also does negative and positive
film. Light-Tight compartment for daylight operation — has
8 stainless steel tanks — completely automatic “Dry-to-Dry."
MODEL R $1995 — Includes basic Bridgamatic fea¬
tures such as overdrive, nylon bearings, air squeegee,
built-in drybox, blower, heating elements, 400' enclosed
magazine and daylite compartment.
MODEL RA $2495 — Same basic features of Model
R plus continuously variable speed control, 1200 ft.
enclosed magazine, feed-in and take-up elevators.
TAKE ADVANTAGE OF S.O.S. TIME-PAYMENT PLAN
Trade-ins Accepted . . . Send List.
Hallen
16mm Recorders
e
Model 25B — Complete
‘Lip-Sync” Recording System
Weighs only 73 lbs., one case, easily
portable.
Professional sound stage qualify, simplicity.
Hallen "Drum System" has Academy Award
winning "Davis Flutter suppressor," most
stable film motion yet developed.
Simultaneous monitor of recorded track.
Three inputs — two for microphones and one
for music and background.
Standard Motion Picture Research Council
16mm track placement.
High-speed forward and rewind — three sep¬
arate motors — smooth take-up.
Removable Monitor Speaker and power
supply.
Licensed under A.T.&T. and W.E. patents.
F.O.B. West Coast $1495
Film Numbering Pays Off
Tho Mmt
The MOY numbers every foot of 16, 1 7 '/2 , 35mm
film — simplifies the task of checking titles, footage.
Replaces cue marks, perforations, messy crayons,
punches, embossing — does not mutila e valuable
film. Work prints showing special effects, fades and
dissolves require edge numbering to keep count of
frames cut or added. Multiple magnetic tracks in
CinemaScope, stereophonic recordings make edge
numbering a MUST. Write for brochure.
Among Recent Purchasers Are:
Eastman Kodak Co., Rochester.
General Film Labs., Holly'd, Cal.
Reeves Soundcraft, Sp'dale, Conn.
Holland & Wegman, Buffalo, N.Y.
Amer. Optical (Todd AO), Holly'd
Cons. Film Inds., Ft. Lee, N.J.
Cinerama Productions, New York.
Columbia Broadcasting System.
With
New Improved
Non-Clog Inking
System $2475
Present MOY owners
can easily install the
new and improved
inking system!
Hollywood
HFC Synchronizers
2 Gang 35mm $125
• Sprockets cut to close tolerances.
• Veeder-Root Counters & locking device
• Highest quality precision workmanship
• Built for heavy day-in and day-out use
• Frame dial
• Cast aluminum machined
• Instant Pad Roller Release
Complete line includes standard and spe¬
cial arrangements for 16mm and 35mm
magnetic or optical sprocketed fim.
S.O.S.
The Department Store of the Motion Picture Industry '
riftlFMA tylPPIY rilRP 602 west 52nd st- new y°rk ,9- ny-
UII1LIVI/I UUl I LI UUIII • Phone: PLaza 7-0440 Cable: S0S0UND Jil,
HOLLYWOOD, CALIF. OFFICE— Dept. F, 6331 Hollywood Blvd., HO 7-9202— For Other Important S.O.S. Offerings See Pg. 543
NAIDICH
ONE OF A SERIES
You 7night not have noticed it at
first glance, but we and this young
lady have something in common.
We both take great pride in our
respective abilities to render
SERVICE.
She— as you can plainly see —
peels grapes, and if that's what
DO YOU APPRECIATE SERVICE?. . . you want> we recommend her
unreservedly.
If, however, you're interested in
fihn processing, this able young
lady will be of no use to you
at all. For complete 16 mm and
35 mm film services . . . magnetic
striping any width, any position
. . .16 mm color printing, you
had better come see us . . .
GENERAL FILM laboratories corp.
1546 No. Argyle/Hollywood 28, Calif./HO 2-6171
THE 16mm CAMERA BUILT TO 35mm STANDARDS
When the most exacting 35mm professional standards must be achieved in 16mm production, Maurer cameras stand
alone as the cinematographer's prime tool. For no other 16mm camera will compare in extreme accuracy of registration
and facility of operation.
The Berndt-Maurer camera, with pilot-pin movement for such specialized tasks as animation photography, or the
Maurer 05, with “rectangular register” intermittent movement, are both immediately available from Gordon Enterprises.
Like hundreds of other cameras, these Maurer models have been carefully re-manufactured to new standards by skilled
technicians in the finest equipped instrument shops in Western America, at Gordon Enterprises. This means that every part,
from the smallest to the largest, has been inspected and evaluated by an expert. That is why Gordon Enterprises can say
“new-or-better” standards on all equipment it offers. As a prime contractor to the Air Force, the Army and Navy, Gordon
Enterprises has repeatedly won commendations for superior performance. Today, motion picture producers throughout the
world depend upon Gordon Enterprises for the same superiority in motion picture equipment and for unexcelled service
on motion picture equipment.
For these fine Maurer cameras and Maurer accessories, come to Gordon Enterprises. And you’ll find hundreds of other
cameras, lenses, processing equipment and motion picture production equipment at Gordon Enterprises too, for Gordon
Enterprises has the world’s largest inventory of motion picture equipment.
$2350.00 — Brendt-Maurer — 16mm Professional Camera — Type 506-A — Manufactured by J. A. Maurer, Inc.
$2950.00 — Maurer Model 05 — 16mm Professional Camera — Manufactured by J. A. Maurer, Inc.
Cameras are complete with Viewfinder, 3 lenses, sunshade-filter holder, camera carrying case, accessory carrying case,
magazine, and choice of 12 volt or 110 volt motor.
gorc/on enterprises
©
5362 N. Cahuenga Blvd.
North Hollywood, Calif.
STanley 7-5267
Cable: GORDENT
stancil-hoffman S6 system of magnetic film recording light¬
weight, standard AC or battery operation 16mm or 17.5mm
or mobile use . . . designed to accommodate around 24 volt, precisely engineer!
any camera and meet your every quality approved batteries. Accommodate
and film recording requirement. volts, 1 or 3 phase, 50 or 60 cycle
QUALITY . . . Engineered by Stancil-Hoffman, manufacturers of equipment used
throughout the world by film producers, radio and television stations, the Military,
and nuclear research laboratories. Find out how the S6 magnetic film recording
svstem for Dortable and fixed recording can best meet your requirements . . .
manufacturers of complete recording system
STANCIL-HOFFMAN CORP.
from microphone to release print
HOLLYWOOD 38, CALIF. TEL. Hollywood 4-7461
cable address: STANHOFF
representatives:
New York & Eastern Seaboard
Electronics Assoc., Inc.
200 5th Street, Stamford, Conn.
East Central Section
Mr. Michael J. Cudahy
5858 Sheridan Rd., Chicago 40, III
West Central Section
W. Cozzens
220 Kedzie St., Evanston, III.
S. W. Caldwell, Ltd.
447 Jarvis Street
Toronto 5, Ontario, Canada
S. 0. S. Recording
1545 South Beretania
Honolulu 14, Hawaii
India & Pakistan
Photophone Equipments, Ltd.
9, Marine Lines, Bombay, India
= New 35 mm Model 2A =
= With 180° Shutter =
I A truly GREM |
1 CAMERA 1
= for TV, Newsreel
E and commercial
— For tough and trying assign- ~
— ments, ARRIFLEX 35 is in n —
— class by itself. Reflex focusing
EE through photographing lens ~
E: while camera is operating — iE
— — this is just one outstanding ~
EE ARRIFLEX feature. =
:= Equipped with bright, right- =
~ side-up image finder, 6V2 x =
E: magnification. Solves all par- =E
== allax problems. 3 lens turret. =
= Variable speed motor built ~
— into handle operates from ^
~ lightweight battery. Tachom-
EE eter registering from 0 to 50 EE
~ frames per second. Compact, =j
E: lightweight for either tripod :E
or hand-held filming. Takes =
~ — 200' or 400' magazine. Write EE
EE for free folder. EE
EE Blimp now available. EE
— 16mm ARRIFLEX also available. —
IWDIISTRY NEWS
INNOVATION in public relations is practice
established by Magnasync Mfg. Co., North
Hollywood, of loaning company’s Thunder-
bird courtesy car to out-of-town clients. Here
Magnasync president De J. White hands car
keys to William A. P. Smith of Smith System
Sound Laboratories, Manila, P. I.
A new optics method announced by Ko¬
dak Research Laboratories will provide
faster design of better lenses. The brst
complete analysis of an optical image, a
technique that will permit speedier de¬
sign of better lenses, has been achieved
through invention of new mathematical
formulas.
The scientific shortcut devised by Ko¬
dak’s Dr. Max Herzberger is essentially
a way of analyzing the optical image and
considering it as a superimposition of
five simple types of images. He accom¬
plished this by finding five simple types
of image errors, from which he can syn¬
thesize the most complex optical image.
Until now, lens designers, using com¬
puting machines, have laboriously traced
rays of light through a lens system dur¬
ing the design stage. This has been re¬
duced to the tracing of only nine rays
which, by projection with Herzberger’s
mathematics, is equivalent to tracing per¬
haps LOGO rays.
Invention of an electronic device to per¬
mit accurate scene counting during in¬
spection screening of either 16mm or
35mm him, is announced by Consoli¬
dated Film Industries. Method was de¬
veloped by Ted Hirsch and is being pat¬
ented by CFI.
During printing, the clear edge side
of the him is purposely fogged where
scene changes are indicated, causing a
thin, black mark to appear at the begin¬
ning of each scene. A photo-electric scan¬
ner, mounted on the projector for this
purpose, scans the clear edge while the
print is being screened. As each fogged
strip passes the scanner, the accompany¬
ing scene-change is recorded in full view
on an illuminated counting device lo¬
cated below the screen in the projection
room.
Thus CFI technicians and customers
can identify every scene by number in
order to record on-the-spot suggestions
for correcting subsequent re-printing.
■ * * *
A unique new 30-minute educational
him that shows revolutionary new meth¬
ods of achieving labor-saving technique
in producing animated hlms, was
screened publicly for the hrst time at the
studios of United Productions of Amer¬
ica, Burbank, August 24th.
Film was produced by Animation
Equipment Corp., New Rochelle, N. Y.,
manufacturers of Oxberry animation and
camera equipment. It demonstrates
zooms, pans, dissolves, wipes, pop-ons,
cutouts, and multiplane procedures and
shows how high-quality animated pro¬
ductions are made in less time and at
less cost through use of motorized anima¬
tion stands and tables.
The him is scheduled to be shown be¬
fore groups in other him production cen¬
ters in the U. S. during the coming
months.
In his firm’s annual report, just re¬
leased, James Barker, young president of
Capital Film Laboratories, Washington,
D. C., points out that
since World War II
the number of 16mm
projectors in use has
increased ten - fold
from about 50,000 to
some half a million,
and that the number
of “general interest”
hlms available in
16mm increased
over hfty-fold in just
the hrst seven years after the war ended.
Today, the report adds, the footage of
16mm him exposed for professional use
each year runs into the millions of feet,
and rivals the him consumption of the
theatrical him held.
Capital is one of the leading eastern
laboratories servicing the 16mm him in¬
dustry. It is one of the only three lessees
of the Scotchtrack brand magnetic lam¬
inate process perfected by the Minnesota
Mining & Mfg. Co.
520
American Cinematographer
September, 1955
• • • •
The World’s Outstan
Because it has so much more to offer, the Arriflex
16 has become the most wanted 16mm camera in
the field. The demand has been greater than the
supply from the very beginning . . . and for the best
reasons in the world:
• The Arriflex 16 is the only 16mm camera with a
mirror-reflex shutter for continuous thru-the-lens
focusing and viewing— even during actual shooting.
There is no beam-splitting and no light loss; no
parallax and no need for extra finders.
• It is equipped with registration pin assuring abso¬
lute frame registration and rock-steady pictures.
• A built-in electric motor drive permits uninter¬
rupted filming— no need to stop and wind a spring.
• By employing a diverging turret, 3 lenses from
For complete information concerning Arriflex 1 6mm and
35mm cameras, and Arri film lab equipment, write to.
KLING PHOTO CORP. • 235 Fourth Ave., New York
ding 16mm Camera
extreme wide-angle to 300mm telephoto can be
simultaneously mounted— without physical or optical
interference.
There are a host of other features that equip the
Arriflex 16 for every possible type of professional
filming: Footage and Frame Counters — Tachometer
— Detachable Matte Box — 400 ft. Accessory Maga¬
zine, etc. Its extreme compactness and light weight
(only 7 V2 lbs. with Matte Box) makes it also ideally
suited for hand-held shooting.
The quality, performance, and exclusive features of
the Arriflex 16 have created a great demand for
this camera. To assure earliest possible delivery, we
strongly urge you to place your order now. And
even though there is some delay, remember . . . the
Arriflex 1 6 is worth waiting for.
3, N. Y. • 7303 Melrose Ave., Los Angeles 46, Calif.
need location
lighting... fast?
Call on Jack Frost , one of the
nation's largest suppliers of
temporary lighting facilities.
Wherever you are, whatever your
lighting needs, you can depend on
Jack Frost’s expert handling and com¬
plete range of equipment, from a
100 watt inkie to 225 amp arc with
mobile power plants. In the studio
too, we can supplement your present
equipment to meet any situation, any¬
where. We’ve been doing it for years
for many of the top shows.
Our service includes complete installa¬
tion and removal at one low cost.
free estimates
Write or wire for a free estimate and
a Free Catalog of Equipment.
JACK A. FROST
a
Dept. AMCI
234 Piquette Ave., Detroit 2, Michigan
425 Burnamthorpe Road, Toronto 18, Ontario
WE PROUDLY PRESENT . . . .another CAMART PRODUCT!
'«= DUAL READER ,:°r.
Price: $1 95.00
(LESS VIEWER)
The DUAL READER will:
• Play SOUND film with ANY 16mm motion picture viewer.
• Edit SOUND and PICTURE in perfect synchronization.
• For SINGLE and DOUBLE system editing.
• Works with left to right and right to left viewers.
• Operates on 110-120 volts, 60 cycles, AC.
• Includes sound head, amplifier, and base for viewer.
• Smart modern design, attractive brown wrinkle finish.
SOUND HEAD • Optical slit, pre-focused exciter lamp socket.
• Reads variable area or variable density track.
• Highly polished chrome plated film track.
• Will not scratch or damage your film.
AMPLIFIER • 5 watt output with built-in Alnico speaker.
• Exciter lamp rheostat control for hi-fi sound.
• Speaker can be moved away from the editing table.
• Headphone jack for listening without disturbing others.
SEND FOR DESCRIPTIVE LITERATURE!
AND DON’T FORGET OUR OTHER
CAMART PRODUCTS
• Boom arm Dolly • Baby Dolly • TV Mike Boom
• Tightwind Adapter • Optical FX Unit • Rotator
Lens
• Triangles • Car-top Clamps • Slate & Clapstick
• Electric film timers • Synchro-view-lite
• Scout Tripod • Baby Cub Tripod • Hi-hat
• • © • ©
• Fully equipped modern machine shop to design
and build experimental and special equipment.
• © 0 • ®
• Moviolas serviced, repaired, and rebuilt.
• Authorized Bell and Howell repair station.
SALES REPRESENTATIVES
• Auricon Super-1200 and new Pro-600 cameras.
• Arriflex 16-35mm reflex cameras and blimps.
• Used Mitchell, Maurer, Bell & Howell cameras.
• Bausch & Lomb BALTAR lenses mounted for
• Arriflex and other cameras.
• Bardwell-McAlister Colortran REGEL LIGHTS
• New CONE LITES perfect for color.
• Magnetic recording equipment and micro¬
phones.
• Moviola film editing machines.
• Neumade editing supplies and equipment.
• Bodde background slide projectors and screens.
• Printers, processors, and lab equipment.
'»< CAMERA • MART
MOTION PICTURE AND TELEVISION EQUIPMENT
1845 BROADWAY at 60th STREET J PHONE: CIRCLE 6-0930
NEW YORK 23, NEW YORK CABLE: CAMERAMART
THE CINE-SPECIAL camera, shown here in the hands
of naturalist-photographer Dr. Olin S. Pettingil,
Jr., makes if possible to shoot pictures of fast
action at shutter speeds as high as 1/560 second.
BELOW is dial of Norwood Director exposure meter showing
comparative positions of shutter openings with cine frames
figures. Author suggests readers memorize these comparative
positions as they cannot be readily marked on the meter
dial itself.
Cine CAMERAS having variable shut¬
ters, such as the Eastman Kodak
Cine- Special and Pellegrini -modified
8mm and 16mm Bolexes, offer advan¬
tages beyond the ability to make fades
and lap-disolves. Such cameras can be
used to modify exposures without alter¬
ing lens aperture for certain photograph¬
ic effects or results. For example, where
you want to pan from bright sun to
shade and at the same time maintain
full and equal exposure in both areas,
the proper exposure can be sustained
during the panning operation by chang¬
ing the variable shutter opening as the
camera moves. This method is superior
to that of progressively changing lens
aperture because with the latter, the
depth of field is altered.
Phis technique poses the problem of
determining the correct f/ stop for the
different positions of the variable shut¬
ter. To understand more clearly the
method of using an exposure meter for
aperture determination for the variable
shutter, it should be remembered that
most cinema cameras provide only one
shutter speed, although they may offer
a range of different camera speeds such
as 8, 16, 24, and 32 frames per second,
etc. Thus, in certain cases, exposure
time can be modified by changing the
camera speed, but this method is not al¬
ways desirable.
Briefly, the advantages offered by the
variable shutter are:
— Ability to make fades and lap dis¬
solves in the camera.
( Continued on Page 548 )
Exposure Determination
For Variable Shutter Speeds
By FRANK P. FRITZ
PROBLEM- EXTREME SLOW MOT/OH - Ht-SPEEP ACT/ON AT EASTER S/LUTTER SPEED5'
DIAGRAMS show how meter is used to determine correct shutter opening when photograph¬
ing fast action at 64 fps. Normal exposure for 64 fps is determined as f/4 (2). Shutter
speed dial is rotated to bring the fps figure 16 over the f/4 figure (3). This position on
the meter is still 64 fps with variable shutter open. Now, under the 64 fps- V4 -open marks
is indicated the aperture to use, i.e., f/2 (4).
524
American Cinematographer
September, 1955
.
mncnfls v nc
SYNCHRONOUS
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Producers!
Bring dubbing costs DOWN and
CONTROL sound quality
with Magnasync X-400 Type 13 dubbers
As significant as the tremendous savings made possible by Magnasync
magnetic film recording is the degree of quality control which it affords the
exacting producer. In mixing, dubbing and transfer work the Magnasync
X-400 permits you a degree of perfection which you can achieve consistently
by doing the work yourself.
SOUND EFFECTS edited to fit the script
with blank leader stock between split-
second synchronized effects. (Loop rack
attachment available).
MUSIC TRACK scored to packaged pic¬
ture. Music can be rescored without
affecting other portions of the master
track.
DIALOGUE TRACK recorded on location
in "Lip-Sync'' or narrated to fit picture.
PLUG-IN PREAMPLIFIERS mounted on
rack panel cradle. Power switch, Fuse
and Pilot light on front of panel. Zero
level, 600 ohm, balanced line output.
INDIVIDUAL DRIVE MOTORS with positive gear
interlock assure absolute "sync” from dead start.
Separate synchronous drive motors operate each
dubber is independently to assure optimum motion
stability.
Send for complete specifications, prices and delivery schedule.
NEW YORK — Camera Equipment Co., 1600 Broadway, New York
19. JUdson 6-1420. Cable Address CINEQUIP.
CHICAGO — Zenith Cinema Service, Inc.,
Chicago 25, 111. IRving 8-2104.
DEALERS
SAN
Keorney St.,
Foster Ave.,
FRANCISCO — Brooks Camera Co.,
Francisco, Calif. EXbrook 2-7348.
CANADA — Alex L. Clark, Ltd., 3745 Bloor St., Toronto 18,
Ontario. BEImont 1-3303.
iii
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FILM RECOROERS
MAGNASYNC MANUFACTURING CO., LTD. • 5521 SATSUMA AVE., NORTH HOLLYWOOD, CALIF. • POplar 6-T692
Make-up Magic For Today's Color Films
Recognizing the varied problems posed by the new
color emulsions, American Cinematographer calls upon
Hollywood’s topmost make-up authority for answers.
By WALTER RAMSEY
lt\ A /hen FACES turn red. green or blue in this age of col*
VY or photography, we must suspect more than high emo¬
tions or extreme low temperatures," said Max Factor. Holly¬
wood make-up authority. “Actually, these results come from
a combination of make-up, lighting and film used without
true color-knowledge and coordination."
How to keep up with make-up and color compensation for
the new, ever-changing color films, both 16mm and 35mm,
is a problem faced by all those who are interested in the film
industry in every way. Here, in an exclusive interview for
American Cinematographer , Max Factor, Jr., recognized ex¬
pert in the field of motion picture make-up, gives the answers
to these problems in simple, easy-to-understand terms and
reveals the correct make-up methods and colors which should
be used for the various new color negatives. Nor is the in¬
formation gleaned by mere chance, but results from Mr. Fac¬
tor's years of careful research and close cooperation with all
leading film companies.
“With the constant development of new color emulsions,"
continued Factor, “improved make-up colors must be devised
which will produce the most natural results. The make-up
problems encountered in color motion picture photography
are more numerous than in black-and-white photography.
Color temperature of light, light intensity and. of course, the
developing process itself, directly affect the colors of the
make-up."
hen selecting colors of make-up, one must be familiar
with the particular negative stock being used, as each type
of film calls for a different solution to compensate for its
unique properties. But it is not necessary to guess or experi¬
ment; accompaning this article, you will find several charts
furnished by the Max Factor Make-up Studios, indicating
the suggested make-up for all types of color film in cur¬
rent use.
“In Ansco color. Technicolor and Eastman Color No.
5248,’ Factor continued, “the reds become highly intensified
in the developing of the film. Therefore, a true-red lip rouge
will reproduce unnaturally and the result will be undesir¬
able. Pastel pinks and pink-orange tones are used, in these
cases, for both cheek and lip rouge. These colors will
reproduce natural blush tones on the cheeks and natural red
on the lips. W ith Kodachrome film, however, the cheek and
lip rouge colors applied will be faithfully reproduced in the
final print; so for this film, darker reds are used than for
Technicolor, Ansco or Eastman 5248.
“Another important aspect of make-up for color photog¬
raphy today is the reproduction of natural complexion tones
on both men and women. Selecting the proper shade for each
individual is the secret to obtaining the most natural results,
for example, the standard shade of our Pan-Stik for women
is 626B for Technicolor film. But should a particular actress
have an extremely ruddy complexion, the next shade darker
would be more effective; the darker color would conceal the
very ruddy tone of the skin and at the same time prevent
the skin tone from becoming too light.
At this point. Factor went on, “special make-up effects
must be considered. A color which is correct for a normal
complexion tone would not give the desired effect if, for
example, a Caucasian were to portray an oriental. A special
color should be selected to obtain the desired result; a colo;
that would not incorporate reds, and one that would reflect
a minimum of blue. The color blue is mentioned in particu¬
lar because it is the hue which Eastman Color negative
favors. Of course a great deal of color correction is possible
in processing, but only to a certain point," Factor warned.
"Too much blue in the foundation color results in a muddy
complexion tone, and the presence of too much blue will
cause the lips to appear a purple color.”
The question most asked Max Factor is: What is the dif¬
ference in the make-up colors now used and the colors used
several years ago? His answer is that the major difference
is to be found in the new color pigments which have been
discovered after months of research in their laboratories.
These new' color pigments made new methods of refining
CORRECT METHOD of applying lipstick for motion picture
make-up is demonstrated here by Hal King, director of
make-up for Max Factor, Hollywood. Model is Lita Baron.
MODEL removing all her make-up. Note
how face is without expression, eyes are
dull, lips indistinct.
SAME MODEL with properly applied motion
picture make-up, resulting in glamorous
appearance — and a decided transformation.
SAME MODEL with different make-up and
blonde hair — with the make-up properly
chosen to harmonize with the latter.
possible. This has resulted in colors with more light-reflective
qualities than ever before. The colors today are very clear,
very clean, ranging from soft light-amber-pink through the
tan tones, with each of the colors having a delicate rosy
undertone.
“Consider, too, the color of make-up foundations from the
viewpoint of color balance between the man and the woman.
If the woman is made up extremely light and the man very
dark, on the screen the variance in complexion tones will be
so obvious as to be disconcerting to the viewer. Selection of
foundation colors which are closer together in depth will give
a better balance to the skin tones of the man and woman.
The average director of photography is well aware of this,
because it is most difficult to light two people with extreme
divergence in complexion tones.”
TO CREATE a clear, sa-
lin-smooth complexion
tone, pancake make-up
should be applied with
a soft sponge.
“What about the technique of make-up application?” we
asked Mr. Factor.
“Make-up, incorrectly applied, will destroy the perfect ef¬
fect you wish to achieve,” he said, “even though the proper
selection of colors has been made. Never apply foundations
so heavily as to completely conceal the texture of the natural
skin. A heavy application of foundation will result in a mask
like appearance. High-lights and shadows, used to correct
facial proportions, must be blended very delicately so that
each color fades naturally into the foundation color. Usual¬
ly, a color two shades lighter than the foundation is sufficient
for a highlight; and for shadows, a color two shades darker.
A fine natural sponge or a flat sable brush are better appli¬
ances to use for blending purposes than the finger-tips.
"Cheek rouge, as we have said, must be pastel in hue and
it must never contain blue. It is always blended to a soft
blush tone for current films. Eyebrows should be pencilled
with tiny hair-like strokes to simulate the real eyebrow hair.
A solid, continuous line should never be used. Perfection in
make-up application is the rule to be particularily followed
here.
"Because blue is a problem with most color negatives, but
especially with Eastman, blue eyeshadow is not used except
for cartain special effects. A gray or brown eyeshadow, or a
combination of the two, is used today. These colors will give
a natural eyeshadow effect. The application must be very
delicate, and the edges blended until the color fades away.
“Women’s eyes may be made to appear larger by out¬
lining the eye with an eyebrow pencil. The color brown is
almost always used and the line is blended to a shadow. The
line must be drawn as close to the base of the eyelashes as
possible. This will give the desired effect and, too, will serve
to prevent the eyes from appearing red-rimmed due to light
glare or fatigue.
“Eyelash make-up is a must for all women appearing be¬
fore the camera and false lashes may be worn where indi¬
cated. These lashes are always trimmed and shaped to give a
natural effect.
“Lip rouge is best applied with a lip brush. In this man¬
ner a perfectly sharp outline is achieved, giving a clean,
shaped lip-line without a feather edge. Lip rouge should be
blotted with tissue at least once after applying to the lips,
( Continued on Next Page)
American Cinematocrapher
September, 1955
527
LINE, pencilled on upper and lower lids and blended to almost a THE PERFECT lip line is best achieved by using a lip brush made
shadow, prevents eyes appearing red-rimmed, makes eyes larger. for the purpose. Careful outlining here is important.
for the most natural effect. For a more
dramatic effect, we suggest a heavier ap¬
plication of rouge and no blotting for a
high stay-on lustre.
“Even the powder used in modern col¬
or make-up has changed,” Factor contin¬
ued. “In the past, as you may recall,
there was a definite added color to the
powder. With current color films, this
former color in powder is not only un¬
necessary, it is taboo. Once the founda¬
tion color is carefully selected, it must
remain: the modern powder is therefore
tranluscent, and adds no color to the
foundation whatsoever.”
Mr. Factor concluded his remarks by
emphasizing the usual care required in
applying make-up to the neck, shoulders,
hands and arms (if exposed) to give a
continuity of skin tone. If the hands, for
example, are left in their natural color¬
ing while the face, arms, shoulders and
neck are made-up, the subject will often
appear to have red, blue or even white
hands. Continuity of make-up is a para¬
mount consideration.
Costume colors should be carefully
considered when choosing the proper lip¬
stick shade. If a woman is wearing a
fuschia gown and an orange-colored lip
rouge, the color-clash is obvious and far
from beautiful. Lipstick does not neces¬
sarily have to match the costume, but it
should harmonize. Factor warned. Often,
a red-toned gown is so dark that the
same shade of lipstick would be out of
line with the film demands as outlined
in the charts.
Films are constantly changing and be¬
ing improved. Make-up especially de¬
signed for last year’s negative films may
not be adequate for the new emulsions
discovered in recent months. However,
(Continued, on Page 544)
SUGGESTED MAKE-UP CHART FOR EASTMAN COLOR FILM NO. 5248
Pan-Cake or Pan-Sfik
Powder
Creme Cheek Rouge
Dry Rouge
Moist Rouge (Lips)
Lip Pomade (Lips)
Eyeshadow (Liner)
Eyebrow Pencil
Eyelash Make-Up
WOMEN
7-25A or 7-25B or 7-25C
C3-238 (Translucent)
Flame or IB Lip Pomade
Flame or Light Tech.
7-22
Brown $3 or Blue-Grey $6
Lt. Brown, Brown, Black
Brown, Brownish-Black, Black
MEN
VC-7 or 7-25G or 7-25H
C-3-238 (Translucent)
Dark Tech. (Sparingly)
T-3 (Sparingly)
Brown if: 3
Brown or Black
Brown (Optional)
VC Series of Pan-Cake and Pan-Stick: VC1 , VC2, VC3, VC4, VC5, VC6, VC 7, VC7A, VC8,
VC8A, VC9A
7-25 Series of Pan-Stick: 7-25, 7-25A, 7-25B, 7-25C, 7-25D, 7-25E, 7-25F, 7-25G, 7-25H
7-25 Series of Pan-Cake: 7-25A, 7-25B, 7-25C, 7-25D, 7-25E, 7-25F, 7-25G, 7-25H
The VC Series of Pan-Stik and Pan-Cake are the original series made for Eastman film.
The 7-25 Series of Pan-Stik and Pan-Cake are the latest series and contain Pink undertones.
Either series is correct to use. The preference is the individuals.
7-22 Lip Pomade is lighter and more natural appearing than 7-16.
7-16 Lip Pomade reproduces a deeper red tone.
SUGGESTED MAKE-UP CHART FOR ANSCO
COLOR
WOMEN
MEN
Pan-Cake or
Pan-Stik Make-up
VC5
VC8
Powder
Tech.
Special
Tech. Special
Creme Rouge (Cheeks)
Flame
None
Dry Rouge
Flame
or Light Tech.
Dark Tech.
Lip Pomode
1C
Moist Rouge (Lips)
T-3
Eyeshadow (Liner)
Brown
$3 or Blue Grey it6
Brown fl: 3
Eyebrow Pencil
Lt. Brown, Brown, Black
Brown, Black
Eyelash Make-Up
Brown
Brownish-Black,
Brownish-Black
Black
(Optional)
VC Series of Pan-Cake and Pan-Stik:
VC1, VC2, VC3, VC4, VC5,
VC6, VC 7, VC8, VC8A, VC9A
VC1 is the lightest shade.
The
colors
become progressively darker until they reach 9A which
is a very deep tan.
Colors lighter or darker
than
VC5
may be used for lighter
or darker skin tone effects.
for women.
Colors lighter or darker
than
VC8
may be used for lighter
or darker skin tone effects,
for men.
Lip Pomade 7-16 may be
used
for a
pastel lip color effect on the lips of women.
Women whose complexion tones are
quite ruddy should wear
626B or 626C Pan-Cake or
Pan-Stik, instead of VC5.
These colors contain less red pigment.
More neutral skin tones for men who are very ruddy are K1 and K2 Pan-Cake or Pan-Stik.
528
American Cinematographer
September, 1955
EASTMAN
PROFESSIONAL
MOTION PICTURE
FILMS
W. GERMAN, Inc.
John Street 6040 N. Pulaski Road 6677 Santa Monica Blvd.
Fort Lee, New Jersey Chicago 30, Illinois Hollywood 38, California
THIS
15
JUST
THE
BEGINNING
OF
16 MM!
Talk was that other film sizes than 16mm could
do better jobs in the industrial, educational
and commercial fields.
Not while there is a film laboratory like
Precision, bringing 16mm to the peak of
perfection. In fact, we are demonstrating daily
that 16mm can do more — and better — things
in movies than have been done before.
Precision Film Laboratories developed
unique equipment to realize the fullest
potentialities in 16mm, such as the optical track
printer; timing, fades, dissolves, scene-to-scene
color corrections, invisible splicing without notching
originals; direct electric printing and many others.
No, 16mm is just beginning. Depend on it for
your next film project and, of course, depend on
Precision to do exactly the right job in
bringing life and sparkle to the best of your
production efforts.
and hear
you’ll see
p
R
c
ION
FILM LABORATORIES, INC.
21 West 46th Street, New York 36, New York
A DIVISION OF J A. MAURER, INC.
In everything, there is one best . .
. in film processing, it’s Precision
Pre-printing Preparation Of 16mm Films
Recommendations aimed at standardizing preparation
and marking of negatives and work print for better results
offered by the Association of Cinema Laboratories, Inc.
FIG. 1 — Top and center diagrams illustrate “checkerboard
technique” of making splices invisible when preparing 16mm
A & B rolls for the laboratory. Bottom diagram shows the
recommended method for preparing A & B rolls for dissolves.
The association of Cinema Laboratories, Inc., this month
began the distribution of three bulletins containing the
Association’s recommendations to producers of 16mm motion
pictures for the preparation of A & B rolls, the preparation
of 16mm printing leaders, and method of marking work
prints to indicate effects. It is the first concerted effort by
the industry’s leading film laboratories to secure the cooper¬
ation of film makers towards standardizing their methods on
pre-print preparation of films.
In the preparation of original 16mm A & B rolls, there are
ten specific recommendations:
Black Leader: It is recommended that only black leader be
used between scenes and that such leader be fully opaque.
This leader can be made by fully exposing a length of posi¬
tive film and developing it in a positive hath. If black leader
is old, it is advisable to check it for shrinkage. Black leader
should be used for negative A & B rolls also.
Double or Single Perforated Leaders: It is the Associa¬
tion’s recommendation that only double-perforated leader be
used when all the original is double-perforated. When some
or all of the original is single-perforated, the use of single-
perforated black leader is recommended to prevent possible
future damage to the original. The perforations in the black
leader should, of course, be on the same edge of the film as
those in the original.
Invisible Splices: In order to make 16mm splices invisible
on the screen, it is recommended that the A & B rolls be
prepared using the “checker board” technique. (See Fig. 1).
This technique is accomplished by alternating the scenes
back and forth on the A & B rolls. The splices should be
made in a splicer that makes one of the cuts on the frame
line and the other cut in the picture area. When splicing the
scene to black leader, the scene should be placed in the
splicer in such a manner that the scraped portion and visible
cut of the splice occur only in the black leader. After splic¬
ing the head of the scene in this manner, in order to cor¬
rectly make the splice at the “tail” of the scene, it will be
necessary to turn the scene around in the splicer.
It is further recommended, however, that the producer
consult his laboratory before preparing A & B rolls because
some laboratories request that a number of extra frames be
left on the head and tail of each scene in matching.
Fades: When a fadeout is followed by a fadein, it is
recommended that the fadein scene be carried across to the
other roll without any overlap. The procedure is the same
as that followed in preparing for “invisible” splices. Instruc¬
tions must be given so that the fades will be printed in at
the desired places.
( Continued on Page 544)
FIG. 2 — Method and symbols for marking work prints for
guidance of laboratory technicians in making special effects.
METHOD OF MARKING- WORK PRINTS
TO INDICATE EFFECTS
TAIL
PADS //V
FADS OUT
D/SSOLVF
OOUSLB BXPOSUPB
U/V/AJTBM770ASAL SBL/CBS
HEAD
1
American Cinematographer
September, 1955
531
COMBINATION of graceful vapor trails of B-36 and vast sea of clouds
boiling up from the earth below presented rare sight for cameraman.
WHILE most everyone is familiar with sight of fleet, high-flying B-36s
from ground, these shots afford rare bird’s eye view from 8-mile height.
Photography At 40,000 Feet
How the spectacular aerial sequences for “Strategic
Air Command” were planned and photographed.
By WILLIAM DANIELS, A.S.C.
Director of Photography, “ Strategic Air Command”
The bird's-eye view of giant, vapor-
trailing B-36’s in flight at 40,000 feet,
backdropped by the most beautiful cloud
displays seen anywhere, have prompted
many who have seen Paramount Pic¬
tures’ "Strategic Air Command” to in¬
quire how these aerial shots were photo¬
graphed.
T he production is the first large-scale,
outdoor film photographed in Vista-
Vision and color. It is also the
first motion picture affording the public
rare and breath-taking aerial views of
the Air Force’s B-36 planes in flight.
Photographing aerial sequences such
as appear in “Strategic Air Command”
required something more than simply
taking a camera up in a plane and shoot¬
ing. First, the planes are in almost daily
use in training personnel for SAC. The
Strategic Air Force is the atom-bomb
carrying command whose intercontinent¬
al bombers provide the retaliatory
strength upon which the U.S. relies to
keep the peace. Unlike when shooting
on the studio lot or on other locations,
it wasn’t simply a matter of checking
the weather of a morning and — finding
Wm. Daniels Tom Tutwiler
it photographically ideal — deciding:
"We’ll make those air shots today.” No,
we had to give the Air Force 24 hours
notice whenever we wished to shoot
scenes involving planes. And before each
aerial filming session was begun, a four-
hour pre-flight briefing of Air Force
personnel taking part and of our produc¬
tion technicians was standard procedure.
In short, we of the studio had to adjust
our working procedure in harmony with
operations of the SAC.
Long before a camera turned — even
before cinematographer Tom Tutwiler,
A.S.C., knew he had been elected to do
the aerial photography of this picture — -
Director Anthony Mann, Art Director
Earl Hedrick, Production Manager Cur¬
tis Mick, and I journeyed to MacDill Air
Force Base in Florida, to Carswell AFB,
Ft. Worth, Texas, and to March AFB
near Riverside, California. At each loca¬
tion we discussed the script action for
the aerial sequences with SAC and AF
officers and made a survey of the planes
that were to be made available to us for
much of the aerial photography.
Never before had studio cameras been
used in these planes for photography of
any kind. It was very important there¬
fore to make use of the opportunity to
plan the camera locations — the positions
in the planes where the cameras were to
be mounted — and more important, to
plan the special camera mounts that
would be required. In the B-36 we need¬
ed an opening (window or port) through
which to shoot at a downward angle
while the plane is in flight. The bomb-
sight port protected by heavy optical
glass proved a natural for this; a great
deal of Tom Tutwiler’s spectacular aerial
shots were made with the VistaVision
camera mounted in this position.
532
American Cinematographer
September, 1955
kissing the cloud tops is this SAC B-36 laying down its vapor trails TOM TUTWILER, ASC, shooting from another B-36 with a VistaVision
altitude of over 40,000 feet. camera, captured these rare shots for “Strategic Air Command.”
To shoot from this type plane alone,
I had to design four different camera
mounts: for the B-36 nose, the forward
“bubble” or gun port, and two for the
aft gun ports.
On our return to the studio from the
survey of the Air Force bases, detailed
specifications for building the various
camera mounts were turned over to the
studio’s camera department. In the
meantime, we had arranged with Paul
Mantz to supply his famed B-25 camera
plane for our use in making some of
the aerial shots.
This assignment marked the first time
that the Mantz camera plane had ever
been used for VistaVision photography.
It was therefore necessary to completely
alter the camera mounts in both the nose
and the tail to accommodate the Vista¬
Vision cameras. Mantz’s ship was used
in filming all aerial shots that did not
require going to extreme altitudes. When
it was necessary to shoot from heights of
around eight miles and travel at near
sonic speeds, one of the Air Force’s jet
aircraft was used as a camera plane. It
was such a plaiie that Tom Tutwiler used
in shooting the rare, unearthly pan¬
oramic shots at 40,000 feet that highlight
the climax of the picture.
Altogether, the aircraft used in the
action or the photography of “Strategic
Air Command” included the aforemen¬
tioned B-36s, the Mantz B-25 camera
plane, B-47 bombers, H-19 helicopters,
KC-97 in-air refueling ships, T-33 jets,
C-97s and C-124 Globemasters. The hel¬
icopter was also used as a camera plane
for special shots.
This cooperation and permission to
shoot SAC in actual operation was ex¬
tended us by the Air Force because it
was felt the film could be a definite
contribution to national security. Fur¬
thermore, the special type of mature in¬
dividual SAC requires for personnel is
not easy to find. The film illustrates the
type of temperament a man must pos¬
sess to be eligible for duty in SAC.
Col. 0. F. Lassiter, one of the nation’s
most renowned pilots, was given leave
from his duty as Director of Operations,
12th Air Division, March Field, to act as
technical advisor and liaison officer with
(Continued on Page 547)
PAUL MANTZ’s famed camera plane was used by cameraman
Tutwiler to shoot a great many scenes for “Strategic Air Com¬
mand.” Photo shows nose mounting VistaVision cameras.
TAIL OF SAME plane, showing canopy removed from the aft camera
position. It was necessary to modify the camera mounts in both
nose and tail in order to accommodate VistaVision cameras.
American Cinematographer
September, 1955
533
ALFRED MILOTTE, in the special armored 4-wheel-drive camera car, photographs a mother
lion bringing home the entre for her cubs' dinner. Elma Milotte, in a Jeep some distance
away, made this shot with a telephoto lens. In background is famed Mt. Kilimanjaro.
Filming The African Lion"
Alfred and Elma Milotte’s three-year camera safari
for Walt Disney's latest True-Life Adventure feature
carried them for more than 50,000 miles through the
primitive lands of Kenya,
To bring the first full accurate
life story of the King and Queen
of Beasts out of the African wilderness
for movie audiences, Alfred and Elma
Milotte, famous team of 16mm cinema¬
tographers, literally consorted with lions
for many months in photographing Walt
Disney’s newest True-life Adventure fea¬
ture, “The African Lion.”
In their 32-month camera safari for
the Disney assignment the Milottes lived
as closely amongst groups of lions as
they ever have with human neighbors.
In that time, traveling in a truck which
was both home, laboratory and camera
car, they traversed the vast Serengeti
plain and contiguous animal territory
from Mt. Kenya to the lofty, storied Mt.
Kilimanjaro.
Here they photographed the greatest
pageant of wildlife anywhere on earth,
uncountable in numbers, on over 100,-
000 feet of 16mm Kodachrome film, in¬
cluding in the lion’s domain elephant,
Tanganyika and Uganda.
rhino, giraffe, leopard and cheetah,
zebra and wildebeest, baboon, hyena,
jackal and wild dog packs, scores of
antelope and gazelle species and birds
of many feather.
The real preparation for the safari
began with the construction by Disney
engineers of the mobile carrier which
was to transport the Milottes and their
equipment into and through the rugged
African interior, and which was to serve
as a combination home, transport, and
mobile camera car. On the chassis of a
new 4-wheel-drive truck, a sturdy, steel-
sheathed cabin was erected. This pro¬
vided two pullman bunks; lockers for
clothing, cameras and camera equip¬
ment; and a collapsible steel parallel or
tower on top for use in gaining higher
vantage point for the cameras. Heavy
optical glass protected the windows and
camera ports of the cab.
The Milotte’s motion picture equip¬
ment consisted of a 16mm Arriflex cam¬
era, two Cine Specials, and a Filmo
Special equipped with a detachable 400-
foot film magazine. The wide array of
camera lenses ranged from wide-angle
up to 16-inch telephotos. Three exposure
meters insured them against the con¬
tingencies of loss or unexepected dam¬
age that invariable occur when only a
single meter is carried.
While a substantial quantity of 16mm
Kodachrome film — both Commercial and
Regular — was taken along, the stock was
replenished at intervals by shipments
from Disney headquarters, which the
Milottes picked up at Nairobi, base of
operations. At the same time, exposed
film was shipped via air-mail to Holly¬
wood for processing. The processed film
was then sent to Disney' studios. Not a
foot of it was seen by the Milottes until
they returned to Hollywood some thirty
months later.
Actually, there would be no advan¬
tage for the Milottes in seeing what
might be termed “dailies” or “rushes.”
For if a shot was marred by poor ex¬
posure or focus or framing, which it
rarely was, there would be nothing they
could do about it anyway; it couldn’t be
restaged and shot. So the policy was to
shoot on the basis of long experience in
photographing wild life, to photograph
enough of it and thereby provide more
than enough footage for the production
as planned.
We use the term “planned” loosely
here, for actually there was no shooting
script; no list of subject material sup¬
plied to the Milottes. When they set out
on the vast African plain, they were on
their own to shoot what they could,
when and wherever they could find it —
based, of course, on a knowledge gained
through many years experience in wild
life photography and a study of books
on Africa and its denizens of the bush.
In addition, the Milottes received un¬
limited cooperation from officials of the
Royal National Parks of Kenya, the
Serengeti National Park of Tanganyika,
Queen Elizabeth National Park of Ugan¬
da, Kruger National Park of South
Africa, and the Game Departments of
Kenya, Uganda and Tangayika.
During their twenty years of wildlife
photography, from arctic to equator in
many lands, Alfred and Elma Milotte
have learned how to behave and how to
command respect in the presence of wild
creatures. After proving they meant no
harm, the human intruders were accep¬
ted as just another kind of animal. Their
steel-clad camera truck became a famil¬
iar feature of the landscape. As long as
the Milottes kept their tolerated distance,
the lion families went on about their
business of life and death in the melee
of survival passions to which they were
born.
Making their camera setups confi-
534
American Cinematographer
September, 1955
WILD ANIMAL view of the Milottes — Al
behind the Arriflex 1 6 and Elma ready
with her reflex 35mm still camera. The
big telephoto lenses seen here were
used in making the majority of shots
from the camera car, which also served
as home for filmers.
dently, yet cautiously, often within less
than 100 yards of a subject in action —
outside as well as inside their truck —
they filmed the whole gamut of leonine
behavior through courtship, hunt and
kill, family affections, maternal disci¬
pline and the jealous outbursts in the
harem of half a dozen or more females.
Much of the success of the Milottes’
photography is based on a routine pro¬
cedure which they invariably follow in
entering a new region. Before ever
thinking of readying their cameras for
shooting, they first spend a period of
time exploring the region and studying
it — its accessibility, the light conditions,
the pictorial values of certain features of
the terrain, etc. Here, as in no other
place, they found excessive heat one of
their chief problems. The great heat
waves resulting from the intense mid¬
day sun so distorted distant images that
photography in mid-day was impractical.
For this reason, most of their shooting
occurred during early morning and late
afternoon.
The pre-shooting surveys of the
Milottes included careful observation of
the animals they planned to film — their
eating habits, migration patterns and in-
dicies of mating seasons. Here the Parks
officials were of inestimable help in pro¬
viding valuable information.
Much of the success of their wildlife
All photos copyrighted by Walt Disney Productions.
LIONS give the Milotte
camera car careful in¬
spection, affording Al
at camera at left op¬
portunity to get some
interesting closeups of
lions in action on the
Serengeti plains of east
central Africa.
photography is based on the fact both Al
and Elma have studied wildlife habits
extensively, and when on a filming as¬
signment they automatically think like
the wild creatures on which they train
their cameras. For example, while on
the Serengeti plains, they w'ere watching
a group of lions and planning their next
sequence of shots. Al observed one lion¬
ess suddenly stretch, yawn and get to
her feet. “She’s going over to the water
hole!” he told his wife. They started the
truck and sped to the waterhole. Within
minutes, the lioness put in an appear¬
ance, just as Al had predicted. By now,
(Continued on Page 542)
THIS BATTERY of movie and still cam¬
eras, lenses, film magazines and exposure
meters is the photographic gear used by
Alfred and Elma Milotte on their African
safari for the Disney True-Life Adventure
feature, “The African Lion.”
American Cinematographer •
September, 1955
535
THE THREE units pictured above comprise the new Stancil-Hoffman
S6 portable magnetic film recording system. Above is remote micro¬
phone preamplifier with push-button announce microphone for scene
number identification, plus many other unique features.
FILM TRANSPORT of the S6 system. Recording and playback heads
are located beneath decorative cover in center. Dual-flywheels insure
balanced mechanical filter system for velvet-smooth film travel. Foot¬
age counter with reset knob is at bottom left.
Innovations Highlight New S6 Magnetic Recorder
Stcmcil-HofiFman Corp. has packaged the complete facilities of a
major studio sound recording system in a lightweight,
portable, 3-unit magnetic film recorder.
By FREDERICK FOSTER
Three, portable, easy-to-carry pieces of equipment com¬
prise the new model S6 Stancil-Hoffman professional
magnetic film recording system. The three-unit package
has been especially designed for three-way use — for studio,
portable or mobile recording. W hatever the power source,
camera, or utilization, a simple plug-in or interchange of
motors is all that is ever required to operate the S6 recorder.
Designed around 24-volt, precisely engineered. Air Force-
designed batteries, the system also operates on 110 or 220
volts, single or three-phase 50 or 60 cycle power input.
I he immediate and obvious requirements as to size and
weight have been successfully met without any compromise
in performance. Particular care has been taken in the
design and fabrication of the large cross-sectional castings
and the bearing suspension along with the weight distribu¬
tion of the mechanical members.
I he aim for high efficiency and low power consumption
is seen in the design which uses batteries for power. This
was accomplished by designing the amplifiers for D.C.
operation. Every moving component of the recorder is
mounted on precision ball-bearings, carefully aligned and
assembled. Many of the frills are eliminated to conserve
both power and maintenance time.
The S6 uses a single motor drive, which operates a worm
gear reduction for the main sprocket drive as well as the
take-up clutch. By carefully lapping a metal worm gear
working in conjunction with a nylon gear, a low-flutter drive
system has been obtained. The mechanical filter is a bal¬
anced system consisting of two flywheels and two spring-
loaded stabilizer arms using a silicone dashpot on one of
the members. While the weight of the flywheels has been
kept to a minimum, the system presents extremely low
flutter in the order of .15% to .2%.
For simplicity in threading, a single sprocket is used
plus an automatic control to open and close the “keepers”
and establish the film tight loop.
To meet all of today’s demands in magnetic recording,
the S6 is available for either 17.5mm or 16mm perforated
film. The 16mm transport system operates at the conven¬
tional 36-feet per minute speed. In the 17.5mm recorder,
advantage has been taken of the new trend toward use of
45 f.p.m. speed — one-half that of standard 35mm film. As
both the frequency and motion exceed present standards,
considerable savings in raw stock costs result through this
halving of film travel speed.
One of the great problems with portable recording equip¬
ment has been the various voltages and currents encountered
in the field. In the S6 this has been readily solved by the
536
American Cinematographer
September, 1955
RECORD AND playback electronic unit. Facilities are available for
gain control of the record amplifier and playback amplifier, a
live tape switch and a master switch to furnish volume indication,
bias setting, and B'^ voltage.
provision of facilities for quick change of both the gear box
and the motor. It is possible to carry a II 0-volt single-phase
motor and a 220-volt 3-phase motor, along with a 50 cycle
and a 60 cycle gear box, and to change from one complete
system to the other without tools.
Basically, the specifications of the S6 are as follows:
Frequency response — flat from 50 cycles to at least 12,000
cycles in both film speeds. The signal-to-noise is in excess
of 55 db with less than 2% total harmonic distortion through
the entire system. The transport system in the case weighs
less than 24 pounds and the electronic section, less than 18
pounds. A 1000-foot film capacity is provided although
obviously smaller amounts of film may be handled where
desired. Either reels or open-flange type film holders may
be used.
Perhaps the most outstanding feature of the Stancil-
Hoffman S6 recording system is its flexibility and versatility.
It is available as a one-, two-, or three-unit system for a
wide variety of applications and uses. The three-unit sys¬
tem is virtually a major studio unit compressed into three
light-weight components, easy to carry and to use, and
provides for use of two microphones. The two-unit package
is for use with single microphone. The one-unit is also a
single microphone model and provides automatic volume
control, making it ideal for such applications as newsreel,
documentary and remote sound effects recording.
Any one of the three systems can be readily changed to
operate as a one-, two-, or three-unit recording system, where
the three components are available. Where the ideal sound
recording channel uses a remote microphone preamplifier,
permitting the mixer to operate at the scene of the action,
many times this facility becomes a burden and unnecessary
(Continued, on Page 550)
REAR VIEW of S6 transport unit showing
the replaceable gear box and replaceable
motor for either 50 tor 60 eye. 110-120 AC.
REAR VIEW of recording and playback am¬
plifier sections. Removable panels provide for
plug-in mike preamp or remote amplifier.
THE REPLACEABLE center section of the ARP6
amplifier system which contains the plug-in
microphone preamplifier mentioned at left.
MODEL S6 transport unit with the open POWER SUPPLY pack for the Model S6 is ROTARY CONVERTER which furnishes 230
flanges and film guiding members affording available in two models for 24-volt DC oper- volts 3-phase current from 24-volt batteries
fast loading and unloading of film. ation and for 110-volt single-phcse power. for powering heavy-duty 35mm equipment.
American Cinematographer
September, 1955
537
Amateur
CINEMATOGRAPHY
HARRY RUFFNER shoots a scene for his prize-winning film, “In The Heart of a Man,”
while his wife, Lee, acting as script girl, keeps a log on exposures. The two work
together on all phases of their amateur film productions. Eric Osenda (right) is star
of the picture. Camera is a Cine-Special mounted on a Kodak tripod.
Filming A Prize-winner
Cine Club film makers find that pre-production
planning pays off handsomely in contest awards.
By CLIFFORD V. HARRINGTON
blind man. The hobo longingly inspects
several pairs of shoes in a store window,
but after careful thought he comes to
the conclusion that he can do without
new footwear a while longer. He gives
the money to the blind man and con¬
tinues on his way.
To play the main character of the
hobo, they selected a friend, Eric
Osenda of Sunnyvale, California. Osenda
at first was sketpical of his ability to
play the part. But after the demands
that were to be made of him as an actor
were explained, he changed his mind
and entered enthusiastically into the
project.
“When we write a script, we always
keep in mind the persons who are going
to play in the film.” Ruffner said. “We
try to incorporate as many of their
characteristics and mannerisms as pos¬
sible into the parts we are attempting
to create. In this way we have a better
chance of obtaining creditable perform¬
ances, because, in a manner of speak¬
ing, they are playing themselves.”
Osenda’s wife, Evelyn, and his daugh¬
ter, Loretta, were also given parts in the
film. And before the shooting began the
family's dog, Smokey, was included in
the cast.
The Ruffners’ pre-production plan¬
ning did not end with writing a script
and casting the parts. They spent three
days searching the Santa Clara valley,
nearly 50 miles below San Francisco,
for locations. Before they began shoot¬
ing, they made a three-minute test film
of the lighting they planned to use in
the interior shots.
The picture was begun in early spring
and was planned so that the group could
( Continued, on Page 556 )
Harry and lee ruffner of San Fran¬
cisco, California, are a man-and-
wife camera team that firmly believes
that thorough pre-production planning
is a necessity to the success of any ama¬
teur motion picture. Their most recent
film, “In the Heart of a Man,” is con¬
vincing proof of this theory. It was se¬
lected along with five other pictures to
share equally the top honors in the an¬
nual contest of the Northern California
Council of Amateur Movie Clubs.
The seventeen minute, 16mm color
film with magnetic sound began as an
idea nearly ten months before the Ruff¬
ners won their trophy.
“I always wanted to make a film
about a hobo.” Harry Ruffner said. “I
wanted to depict a man. who for rea¬
sons known only to himself, has chosen
to become a wanderer. In spite of the
situations in which he finds himself, he
still retains his dignity and self-respect.”
After developing their basic theme,
the Ruffners did not pick up their
camera and rush into production. In¬
stead, they began by putting their ideas
on paper and working the kinks out of
their brainchild. They spent two weeks
developing the plot of their story and
two months of spare time preparing a
detailed shooting script.
The Ruffners’ story traces the actions
of a hobo who finds a wallet containing
money. The wanderer visualizes the
fine clothes he might purchase with the
funds, but decides to return the wallet
to its owner. The owner, a woman, re¬
wards him with a five-dollar bill. De¬
ciding that his immediate need is a new
pair of shoes, the hobo searches for a
shoe store. On the way he passes a
HARRY RUFFNER shoots main title for his prize¬
winning film on home-made titler that looks like
a prize-winner also. Ruffner and wife are members
of Westwood Camera Club, San Francisco.
538
Am eric an Lin km atocrapher
September, 1955
Every scene has more life and sparkle
when you use Ansco Hypan Film
This superior, all-around Ansco black-and-white
movie film is made especially to put more snap
and crispness into your personal motion pictures.
Ansco Hypan yields these outstanding results
because it gives you fine-grain images with in¬
herently brilliant contrast.
Hypan also offers the high speed (Exposure
Indexes of 40 for daylight, 32 for tungsten) that
permits you to take top-quality movies indoors
or outside.
What’s more, there’s real economy in Hypan’s
low price. It lets you take more fine movies for
your money.
Leading photo dealers everywhere have Ansco
Hypan for 8 and 16mm cameras. Try Hypan
Film soon and see how much more life-like your
movie footage can be.
AnSCO Binghamton, N. Y. A Division of
General Aniline & Film Corp. “ From Research
to Reality .”
Ask for Ansco Hypan Film
WHERE plane used for Filming is equipped with intercom system,
directions can be given pilot by the photographer during flight.
Otherwise, series of hand signals, worked out beforehand, can
be used to convey instructions to pilot.
WHEN shooting from a helicopter with door cabin removed, wear
safety belt provided for purpose. Vibration of craft makes it
necessary to shoot cine cameras hand-held — never mounted or
attached to helicopter structure.
Shooting Movies From The Air
Advice for the cine amateur on how to shoot motion pictures from
aircraft; also exposure determination procedure and filter data.
By DEAN RIGGINS
U.S. Army Signal Corps, Ft. Monmouth, New Jersey
You may someday have opportunity
to shoot motion pictures from the air,
and if you do, the following informa¬
tion may prove useful. It is the essential
information contained in the instruc¬
tions this writer has given on occasions
as Instructor of Newsreel and Combat
Motion Picture Photography, United
States Army Signal Corps Photographic
School.
Since aerial scenes are generallv of a
nature not easily repeated, it is well to
have sufficient foreknowledge of aerial
filming techniques to guarantee success¬
ful results from the outset. It is assumed
that the reader is already familiar with
basic motion picture techniques, there¬
fore only the additional requirements
related to shooting movies in the air
will be considered here.
There are three different types of aer¬
ial coverage: ground-to-air, air-to-air,
and air-to-ground. Ground-to-air pho¬
tography is similar to ground coverage
and does not involve any particular
change in techniques. The usual com¬
pensation for exposure (closing down 1
to 1 1/2 stops) must be made, however,
when shooting into the sky. Shots made
of one plane from another near-by
plane, when both are in flight, is called
air-to-air coverage. The filming of a
ground subject from a plane in flight is
540
American Cinematographer
September. 1955
termed air-to-ground coverage. Most
aerial assignments will call for the latter
type of coverage.
When filming from the air the three
greatest problems are: locating your
“target” or subject, reducing picture
shakiness to a minimum, and eliminat¬
ing the effects of aerial haze. Each of
these problems will be considered in
turn.
The “target,” or subject (if not fa¬
miliar to your pilot ) should be checked
in advance on his flight map. In a joint
briefing the entire mission and events
(insofar as they are known or predict¬
able) should be discussed, and a com¬
plete understanding of the “target” lo¬
cation, the direction of approach, the
direction of circling the “target,' and
the desired altitudes for filming should
be reached. These decisions are largely
up to the cameraman. At all times, in
aerial photography, close coordination
and co-operation between the pilot and
the photographer is essential.
The pilot will be concerned with the
safety of his passenger or passengers,
and compliance with flying regulations.
He will brief you on the use of the safe¬
ty belt and how to get into your para¬
chute harness, if one is to be worn. For
communications between photographer
and pilot, most planes are equipped
with an inter-com system. The pilot will
probably brief you on the proper use
of the inter-com “mike” and head¬
phones. If the plane has no inter-com,
appropriate hand signals should be de¬
cided upon prior to the flight.
When filming from a light plane or a
helicopter the cameraman’s shooting po¬
sition is not left to choice. If called upon
to shoot from a larger plane, however,
it is advisable to take a position in the
nose or well toward the tail structure of
the plane. In either position the angle
of vision is fully adequate, so it is
seldom necessary to shoot from right
angles to the craft.
Movies taken at right angles from a
plane tend to be choppy. The “target”
is passed more rapidly, consequently
your shooting time is shorter. Unless
your subject is quite a distance away,
you will pass the “target” too quickly
to attain proper scene length.
When possible, aim your camera a
little forward or to the rear. The subject
will stay in your field of view for a
longer period of time, and any lurching
of the plane will be less apparent, when
screened, due to the greater camera to
subject distance.
In certain instances you may be com¬
pelled to shoot at right angles to your
line of flight, as when filming from an
“open cockpit” type of plane, where the
shooting field is broken by wing and
tail structures, or when shooting air-to-
air coverage of an aircraft flying par¬
allel to you.
Steady support of your camera is an¬
other important factor in obtaining a
smooth, steady, screen image. In a light
plane there is usually a considerable
amount of vibration. Therefore it is not
advisable to attempt rigid support of
any but the heavier production-type
cameras. When Riming with a 16mm
or 8mm camera, hand-hold the camera
while shooting and avoid any attempt
to steady or support it on the window
ledge or any other part of the plane.
Keep elbows in close to your body.
Avoid any contact with the plane except
for the seat, and the placement of your
feet on the floor. Although you should
not lean against the window, it is im¬
portant to lean as close to the window
as possible and keep your camera sub¬
stantially higher than the lower edge of
the window opening in order to avoid
image cut-off if the plane should hit
some rough air.
In filming with a camera that is too
large to hold by hand, mount the cam¬
era on a tripod or some improvised
support. In some cases a specially de¬
vised shock-absorbent rubber section
may be attached to the base of the cam¬
era and then mounted on the supporting
tripod. In the larger type planes a sup¬
port is generally used regardless of the
size of the camera. Some cameramen
use the so-called “Hi-hat,” which is a
very short tripod with a solid fixed-leg
structure and holes at the base of the
legs for bolting down. This is a decided
advantage because any tripod used in
aerial work should be bolted or tied-
down securely.
All these factors — position in the
plane, filming angle, and camera sup¬
port — play an important part in obtain¬
ing a steady image, but there are still
others yet to be considered. The first of
these has to do with the degree of shut¬
ter opening (D.S.O.) in relation to per¬
centage of frame-overlap of the terrain
being photographed. (This will not con¬
cern the average amateur unless he uses
a variable shutter camera, such as the
Cine-Special.) Contrary to popular be¬
lief, a narrow shutter opening will not
neutralize the effect of vibration. U hile
each picture may be slightly sharper
with a small opening, they will be apt
to flicker when projected. It is better to
sacrifice extreme sharpness than to have
too great an interval of terrain move¬
ment between frames. The resultant
flicker from a narrow shutter opening
becomes even more pronounced as the
plane speed increases. It is good prac¬
tice to use the largest possible shutter
opening which will stop motion.
With the smaller cameras having
fixed shutters no adjustment, of course,
is possible. But on variable shutter mod¬
els, the shutter should not be closed
down beyond the 100° mark.
Increasing the number of fraines-per-
second will also greatly aid in compen¬
sating for the speed of the plane, and
( Continued on Page 552 )
FILTERS ore an inevitable necessity when shooting from the air. They make it possible
for the lens to penetrate fog, smog and haze to produce an image of the scene much
more distinct than it appears to the eye.
American Cinematographer
September, 1955
541
MOVIOLA
FILM EDITING
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RUBY CAMERA EXCHANGE
Rents . . . Sells . . . Exchanges
Everything You Need for the
Production & Projection
of Motion Pictures Provided
by a Veteran Organization
of Specialists
35 mm . 16 mm.
Television
IN BUSINESS SINCE 1910
729 Seventh Ave., New York 19, N. Y.
Tel.: Circle 5-5640
Cable address: RUBYCAM
FILMING “THE
(Continued /
the cameras were focused on the subject
and filming began on one of the most
interesting sequences for “The African
Lion.”
Traveling over the great prairie dis¬
tances naturally consumed considerable
motor fuel. To avoid running out of gas
at a dangerous or inopportune time,
Milotte cached 50-gallon drums of gaso¬
line at various points within the area
selected for photography. As the drums
were emptied, they were returned for
refilling on the next trip to Nairobi.
In addition to the four-wheel-drive
truck previously described, the Milottes
also brought along a British version of
the Jeep, called a land rover. This served
the dual purpose of insuring transporta¬
tion in the event the truck broke down,
and a light, fast mode of transportation
for certain filming situations.
No natives or other helpers accom¬
panied the Milottes into the African
wilds. They traveled alone, except for an
occasional visit from a Park ranger —
one driving the Jeep and the other the
truck. The most fearful moment of their
whole African adventure came one eve¬
ning when a big herd of elephants, led
by enormous tusked bulls, crowded in
around a water hole. Elma was caught
by surprise and had to scamper up a
tree and take refuge on a half-construc-
ter camera platform. There she re¬
mained. crouched on a single plank, too
terrified to move for hours until night
fell. A1 and a visiting Park ranger were
trapped inside the truck some distance
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AFRICAN LION”
rom Page 535)
away and could not come to Elma’s
rescue. Much later while the beasts were
busy with their bathing, they slipped
through and got her down from her
perch. Back in the truck, the trio re¬
mained hidden and quiet all that night
and until noon the next day when the
elephants finally dispersed. They could
have pushed the truck over and wrecked
it at the slightest alarm.
Another close call occurred in a re¬
mote region when Milotte and a Park
patrol officer rescued a rhino from cer¬
tain slow death in a mud trap. They
hauled him out with heavy ropes at¬
tached to the truck. In repayment, the
rhino upon being freed, charged Al. He
fled to the truck just a few yards ahead
of the deadly pitching horns. All the
while this was going on, Elma, who was
shooting the rescue, stuck to her guns
and photographed her husband’s narrow
escape, stopping the camera only when
the charging rhino hit the truck s front
bumper with a shock like an earth¬
quake.
To select a family group or an indi¬
vidual for close study from the welter
of creature life was a bewildering ex¬
perience for the Milottes when first they
set out from Nairobi in their specially
built four-wheel-drive truck. Yet, as they
got their bearings, they learned that
their quarry had to be stalked and found
anew every day, despite its incredible
profusion. The hunt for food and water,
sudden migrations, weather conditions
and unaccountable mass moods made the
presence of grazers and predators alike
unpredictable. As their subjects moved,
the Milottes had to move, Gradually,
the pattern of mid-African animal be¬
havior became understandable — and
predictable to some extent.
In addition to carefully-chosen equip¬
ment and a knowledge of wildlife lore
and the African terrain, the Milottes
success as wildlife photographers is at¬
tributable to still another quality that
of infinite patience. For this kind of
photography involves more than any¬
thing else the technique, if we may call
MAIN TITLES • FADES • DISSOLVES • WIPES • SUPERIMPOSURES
MATTES • INSERTS black and white
m
or COLOR
OPTICAL EFFECTS
35mm or 16mm
Write or Call Ray Mercer
FOR SPECIAL PHOTOGRAPHIC EFFECTS INFORMATION AND OPTICAL CHART
4241 NORMAL AVE
RAY MERCER & CO.
HOLLYWOOD, CALIF. •
NOrmandy 3-9331
542
American Cinematographer
September, 1955
nSwer
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Phone: PLaza 7-0440 Cable: S0S0UND
HOLLYWOOD CALIF. OFFICE — Dept. F, 6331 Hollywood Blvd., HO 7-9202 — For Other Important S.O.S. Offerings See Pg. 515
Convert Your Auricon
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FEATURES
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* A substantial camera base used to film from
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* May be used with all camera accessories in
place, such as: motor, 400-ft. magazine, etc.
* Can be racked over and locked instantly.
NOTE: Accessories soon available to mount di¬
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A completely satis¬
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HILLS FILMATIC
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HAROLD’S Photography & TV
308 South Phillips, Sioux Falls, S. D.
it that, of watch and wait — where the
price of success is eternal vigilance.
A1 Milotte says that perhaps their
greatest enemy was not the ever-present
danger of attack from animals or of be¬
ing suddenly marooned in danger areas
but the nervous strain induced by the
steady vigilance necessary to capturing
the rare shots that have made “The
African Lion" such a success. There
were days when scarcely a usable shot
was made with the cameras. Yet it was
necessary for both A1 and Elma to sit
quietly, for hours, sometimes, eyes fixed
on a clump of trees or brush where a
suspected subject might suddenly emerge.
This is the sort of life these two intrepid
nature-loving, camera addicts endured
for two years and eight months in order
to shoot 100,000 feet of 16mm Koda-
chrome, out of which Disney technicians
selected and put together a mere 6,000
that is being released next month as
“The African Lion.”
MAKE-UP MAGIC FOR TODAY’S COLOR FILMS
( Continued, from Page 528)
with each new advance in negative man¬
ufacturing progress, make-up techniques
and colors are devised to take fullest ad¬
vantage of the film while, at the same
time, compensating where possible for
the unfortunate properties remaining in
each individual type of film. Check your
film advances and changes constantly, to
keep step wtth the required changes in
make-up requirements. As Max Factor,
Jr. says: “Only continued care and ob¬
servation of make-up can serve to pro¬
duce a successful effect under rapidly-
changing types of new film emulsions.”
SUGGESTED MAKE-UP
CHART FOR
16MM KODACHROME
WOMEN
MEN
FAIR
MEDIUM
DARK
FAIR & MED. DARK
TAN
Pan-Cake
Make-Up
23M
Tan 1
Tan-Rose
Tan 2
K-I
K-2
Pan-Stik
Make-Up
Olive
Deep Olive
Natural Tan
Golden Tan
K-1
K-2
Powder
Natural
Natural
Olive
Smr Tan
Smr Tan
Smr Tan
Creme Rouge
Blondeen
Blondeen
Blondeen
Dry Rouge
Clear Red 1
Clear Red 1
Clear Red 1
Dark Tech.
Dark Tech.
Dark Tech.
Eye Shadow
Brown or Grey
Brown
Moist Rouge
(Lips)
.
T-3
Eyebrow
Pencil
Lt. Brown
Brown
Black
Brown or
Black
Eyelash
Make-Up
Brown
Brownish-Black
Black
Brown or Brownish-Black
Lipstick
Clearly Red
Clearly Red
Clearly Red
For Tanned effect on women
, use Tan No. 2 Pan-Cake, or Golden Tan Pan-Stik.
For Pink shade of lipstick.
use Porty Pink; for pink-orange
shade, use
Coral Spray; for rose shade, use
Red Red Rose
For outdoor s
hooting use c
leek rouge over a
larger area on
cheeks to
prevent loss of
color, especially if
reflectors are
used.
PRE PRINTING PREPARATION OF 16MM FILMS
( Continued from Page 531 )
Dissolves: It is suggested that 48
frames be used as a standard overlap in
preparing A & B rolls for dissolves.
(Fig. 1). This does not necessarily mean
that the length of the printing effect will
be 48 frames, but it will permit labora¬
tories to make dissolves of varying
lengths up to two seconds duration.
Some laboratories request that a num¬
ber of extra frames be left on the head
and tail of each scene in matching. For
this reason the laboratory used should
be quizzed and their recommendation
followed.
Series of Effects: When dissolves or
fades follow each other at very short in¬
tervals, caution should be exercised; for
the film editor should remember that on
a single roll, no new effect can be start¬
ed before the last effect is completed. It
is impossible, for example to start a
fadeout after a fadein until the fadein
cycle is completed in the printer. With
a standard of 48 frames overlap, it is
recommended that the minimum length
of a scene that incorporates an effect at
each end be no shorter than 108 frames
in the original A & B rolls — i.e., 48
frames for the fadein and 48 frames for
the fadeout, plus an additional 12 frames
as a safety factor. This scene, in the cut
work print, would then be no shorter
than 60 frames.
Dissolves Following Cut- Across: If a
dissolve or fade follows black leader
after a cut-across scene in the original
A & B rolls, it is recommended that the
black leader be no shorter than 54
frames. This allows 48 frames for the
mechanical fader to fade out in order to
544
American Cinematographer
September, 1955
At‘ant New 'York Pittsburgh. San Francisco
In Canada:
Union Carbid* Canada Lion.*. Tow-
xhe advantages of carbon
arc studio lighting have long
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to filter carbon arc sources
very heavily when shooting on
a yellow-light basis.
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yellow-light studio carbons,
you can freely mix ate amps
and inkies on the same set
with minor filtering and vir¬
tually no loss of usefu ig 1 •
This new carbon near y ou
bles the effective light rom
arc sources without additional
power input - or, where arc-
lighting is essential for broac
coverage, penetration or
modeling, it reduces by a most
half the number of arc amps
needed for 3300°k film.
Here, again. National Carbon’s
research facilities, prompted
by the company’s long associa¬
tion with progress in film-
making, have paved the way
,o substantial production
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This collapsible three-wheel tripod dolly is
especially designed to meet the demand
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Dolly can be used with any professional or
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The tripod is fastened firmly to the dolly
by a clamp at each leg tip.
The special individual caster locking system
makes it possible to lock either two or
three wheels in a parallel position, enabling
the dolly to track in a straight line for
rolling dolly shots.
Dolly folds quickly into a single compact,
easy-to-carry unit, 23 inches in length,
weighing 14 lbs.
IF rite for Prices and Literature
CINEKAD
ENGINEERING COMPANY
500 WEST 52ND ST., NEW YORK 19, N.Y.
PLoza 7-3511
DESIGNERS AND MANUFACTURERS OF
MOTION PICTURES AND TV EQUIPMENT
LAB-TV
Professional
16MM BUCK & WHITE
REVERSAL
PROCESSING
Processing on
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FASTAX SPECIALISTS
•
Write for Circular
247 W. 46th St.
New York 36, N. Y.
be ready for the fadein on the beginning
of the following effect scene. The 54
frame length allows 6 frames as a safety
factor. The same recommendation ap¬
plies when the effect precedes the cut-
across.
Marking Dissolves: It is suggested
that the middle of each dissolve be
marked by making a small “x” in each
of two adjacent frames in the center of
each fade, on both the A & B rolls. These
marks should be made on the emulsion
side of the film — outside the picture
area. They will appear in the center of
the effect on the perforated edge of the
him (not the track edge). The two “x”
marks in the A roll will then be exactly
opposite the two marks in the B roll,
when both rolls are placed correctly in
a synchronizer. Thus, the dissolve over¬
lap can be easily checked and correct
synchronization of the rolls verified. The
emulsion can be scraped by a scriber
to form the “x’ marks or they can be
made with a pen and white, waterproof,
quick-drying ink.
Splices: The original should be spliced
with the utmost care. It is recommended
that before splicing any original, several
test splices be made in order to check
splicer for correct alignment and for
depth and width of the scraped area of
the film. Use only enough cement to in¬
sure a good splice. Avoid winding a wet
splice onto the roll where it may mark
the next layer of film.
Instructions to Laboratory: Instruc¬
tions should accompany each film when
it is sent to the laboratory by the pro¬
ducer. These instructions should specify
in detail all special effects desired. When
footage figures are given to indicate the
point where effects are desired, measure
the footage from the printer start mark
in the head leader. Do not use paper
clips, grease pencil, Scotch Tape, string,
etc., to indicate where effects are de¬
sired in the film. Kum Kleen labels can
be used, applied to the film itself with
safety. These should be placed on the
black leader instead of in the scene and
on the emulsion side of the film.
The Association’s recommendations
governing the method of marking work
prints to indicate effects includes six
specifications: (See Fig. 2).
Fadein: A fadein should be indicated
by two straight lines forming a long
“V ’. The two lines should run diagon¬
ally for the length of the effect from the
edges of the film and converge at the
center of the frame at the point of scene
change.
Fadeout: The procedure is the reverse
of that for the fadein — the lines extend¬
ing for the length of the effect and meet¬
ing at the center of the fram® at the
point of scene change to indicate where
the screen will be totally dark.
Dissolve: A dissolve is in actual prac-
•
tice a fadein of one scene superimposed
over a fadeout of another. To indicate
a dissolve on a workprint, the markings
should be the same as those used for a
fadein and a fadeout, but they should in
this case overlap each other, as shown
in the diagrams. The mid-point of both
markings should occur at the splice in
the work print and the markings should
extend an equal distance into both
scenes.
Double Exposures: Double exposures,
superimposed titles, etc., should be indi¬
cated by cutting into the background
scene of the ,work print a few inches of
edge-numbered work print of the new
superimposed scene, to indicate where
the double-exposure begins. Several
inches of the superimposed scene should
then be cut in to indicate the end of the
double exposure. These two pieces should
be connected together by a wavy line.
To insure proper matching, it is es¬
sential that one of these small pieces of
work print be edged-numbered or identi¬
fied in some way.
Extended scenes: Scenes to be extend¬
ed in matching that are indicated in the
work print by leader should be marked
with a long arrow, the shaft of which is
drawn through the leader and the head
of which comes up to the last frame of
the leader to indicate the length of the
extension.
Unintentional Splices: Splices occur¬
ring in the work print that are to be
disregarded in matching should be indi¬
cated by two short parallel straight lines
drawn through the splice and at right
angles to it. This indicates that the scene
is not to be cut at that point.
The Association emphasizes that all
marks on work prints be made with a
yellow grease pencil. Yellow is recom¬
mended because it shows up well on both
color and black-and-white films. If any
cues are made on the work print for
recording or mixing, it is suggested that
a red grease pencil be used for this pur¬
pose.
The Association has also prepared
recommendations for “Preparation of
16mm Printing Leaders,” which will be
the subject of another article in Amer¬
ican Cinematographer next month.
MOVING?
When changing your address, please notify
us at least four weeks in advance. BE
SURE to give your Former address as well
as your New address. Our Circulation De¬
partment needs both addresses in order to
properly identify your address stencil.
Your cooperation will insure that Amer¬
ican Cinematographer will continue com¬
ing to you regularly without delay or
omission of issues. Thank You.
— American Cinematographer
546
American Cinematographer
September, 1955
PHOTOGRAPHY AT 40,000 FEET
( Continued from Page 533)
SAC. Thanks to his cooperation, our
company was assured the use of as many
planes as we wanted as long as our de¬
mands did not interfere with SAC’s
training program.
One of the last things we did before
starting photography of the air se¬
quences was to prepare charts and in¬
struction booklets outlining flight proce¬
dure for each take. These were distrib¬
uted among the group leaders and pilots
and to the General at the Air Force base.
In this way, the men handling the planes
in the air had their instructions in writ¬
ing as to what action was required, and
this went a long way toward minimizing
errors and the need for retakes. Aug¬
menting the charts and booklets were the
briefing periods which preceded each
flight, when all flight personnel and our
production personnel assembled in the
briefing room. Here, with the aid of
blackboard diagrams, the whole flight
procedure was explained and our filming
requirements outlined.
The in-air refueling operation, which
appears in the picture, marks the first
time that this operation has ever been
photographed for inclusion in a feature
film. Tom Tutwiler shot this sequence
from Paul Mantz’s camera plane, with
Mantz at the controls.
At one time while Tutwiler was in
the air shooting a sequence of shots, I
took to the air in a B-47, from which
the canopy had been removed, and made
shots showing the effect of air turbu¬
lence on the wing surfaces of the plane.
This same plane was used again later,
with a camera mounted underneath, to
record closeups of the plane’s giant land¬
ing wheels in action.
There have been many cinematograph¬
ers in Hollywood who have become fam¬
ous for their ability in aerial photogra¬
phy. Tom Tutwiler, who was an Army
Air Force cameraman with rank of Cap¬
tain during World War II, is one of
these. Tom therefore was right at home
on this assignment, and especially so in
Paul Mantz’s B-25 ; he had done most of
his Air Force photography from this
type plane during the war.
Filming the story of the Strategic Air
Command was the idea of actor Jimmy
Stewart, who stars in the production. As
a human document “Strategic Air Com¬
mand” is revealing. As a first opportu¬
nity to see this amazing organization in
operation it is most exciting. And the
broad sweep of VistaVision photography
makes this panorama of skyborne gran¬
deur something to be remembered.
--g j @
A&fievoX
16mm Synchronous Magnetic
Film Recorder
$695.
00
precision-made
unit designed and engineered
for 1 6mm magnetic film. Filtered
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precision sprocket. One compact
unit houses both transport mechanism
and amplifiers
Write for descriptive catalog on complete
synchronous recording equipment and accessories
KINEVOX
INC.
Telephone: Victoria 9-3291
KINEVOX BUILDING
116 S. HOLLYWOOD WAY
BURBANK, CALIFORNIA
CABLE: KINEVOX, BURBANK
American Cinematographer
September, 1955
547
EXPOSURE DETERMINATION
(Continued from Page 524)
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DUNNING MAGIC DOT
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COMPRISES — (1) Supply of high-conductive Anson-
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instantly fit Models "D" or “J” B&H printers . . .
(A) Electrical control box for activating light change
and fader impulses.
Consolidated Film Industries9 installation
reports “Over 90.000 changes without
a miss.”
Complete 4-part unit, $360.00
ANSON RESEARCH CO.
4337 Clybourne, North Hollywood, Calif.
Advantage Never Before OfFered!
SWIVEL BALL JOINT
ATTACHMENT
for
PRO JUNIOR and F & B TRIPODS
Swivel Ball Joint Attachment can be mount¬
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seconds and without any technical knowl¬
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Ten Day Money-Back Guarantee
Write for Catalog and Prices
CIN EKAD
ENGINEERING COMPANY
500 West 52nd St., New York 19, N.Y.
Plaid 7-3511
DESIGNERS AND MANUFACTURERS OF
MOTION PICTURE— TV EQUIPMENT
— Unnecessary to change aperture in
panning from light to shade.
— Ability to get sharper definition —
to stop the action — in shooting high
speed action at normal f.p.s., by
reducing the shutter opening.
- — Eliminates need for using ND filters
when shooting fast black-and-white
film in bright sunlight.
- — Unnecessary to cap lens when re¬
winding for lap-dissolves. Shutter
is closed instead.
The previously-mentioned cameras af¬
ford a range of four shutter openings
(or speeds) : Open, %-open, i/^-open,
and l^-open. With the camera operating
at 16 frames per second, it affords a
range of shutter speeds from 1 /35th sec¬
ond to l/40th second.
The following table enlarges on this
and shows the great range of shutter
speeds available to the photographer
whose camera provides for camera
speeds ranging from 8 to 64 frames per
second.
NOTE: Because the exposure differ¬
ence is almost negligible, even numbers
can be substituted for certain odd num¬
bers in the above chart. For example:
16 fps: 1/30 for 1/35
24 fps: 1/50 for 1/53
32 fps: 1/60 for 1/70
64 fps: 1/120 for 1/140
From the above table it may be seen
that the Cine photographer has available
to him the same means of “stopping”
fast action as does the still photographer
with a Graflex or Speed Graphic cam¬
era. When shooting fast-action subject
matter such as water skiers, or when
shooting from a fast moving car, such
action can be shot at 24 f.p.s. sound
speed and 1/210 second shutter speed
to gain blurless, high-definition results
in cine-photography.
When panning from deep shade to
bright sunlight with a fixed-shutter cam¬
era, exposure consistency is normally
maintained (when this is desired) by
changing the aperture as the camera
moves from shade to light. This not
only involves changing the depth of field
but usually requires a camera assistant
to manipulate the lens diaphragm as
shooting proceeds. Where the camera
has a variable shutter, it can be operated
as the camera is running by the photog¬
rapher.
Now that we understand these ad¬
vantages, our next problem is knowing
how to readily determine the correct ex¬
posure for the various shutter speeds, in
view of the fact that meters which do
indicate cine camera exposures are usu¬
ally calibrated for the standard silent
speed of 16 frames per second. Some
meters, such as the Norwood “Director/’
have the “frames per second*’ camera
speeds inscribed on the computer dial as
an aid to calculating exposures for cine
cameras. For illustrative purposes, the
author shows the comparative shutter
openings of variable shutter cameras,
such as the Cine-Special (See Fig. 1).
The arrow points to the “Cine Frames”
figures, otherwise known as the frames-
per-second figures. Opposite the author’s
lettering “Shutter Opening” appear the
figures for same. “O” — fully open — -ap¬
pears above the 16 f.p.s. figure; % over
the 24 f.p.s. figure; over the 32 f.p.s.
figure; and *4 over the 64 f.p.s. figure.
The figures in either row (of the au¬
thor’s illustration ) are synonymous and
can be memorized for future use. Also, it
is suggested that for reference the illus¬
tration of the marked meter dial (Fig.
1) be clipped from the magazine and
carried conveniently with the meter.
To explain further the use of these
comparative figures for those using cam¬
eras with variable shutters, let us take
a hypothetical situation: Using color
film in a Cine-Special operating at
16 f.p.s., the subject must move from
deep shade to bright sunlight, with no
break in the action. Our first step is to
take a normal reading in the shade — the
meter registers f/4. Next we take a
reading in the sun — f/8. (See Fig. 2).
Now our problem here is to maintain
uniform exposure, going from shade to
light, without altering the camera speed.
This will be accomplished by gradually
Camera
Speeds
Shutter Openings
Open
3/4
1/2
1/4
8 fps
1/18
1/26
1/35
1/70
16 fps
1/35
1/53
1/70
1/140
24 fps
1/53
1/70
1/105
1/210
32 fps
1/70
1/105
1/140
1/280
64 fps
1/140
1/210
1/280
1/560
548
American Cinematographer
September, 1955
PRECISION SOUND READERS
It is your guarantee
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FEATURES: Simple threading . . . polished stabilizer
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6x6x7 V2 inches.
AMPLIFIER: 117 volt — 60 cycle — AC . . . power
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All Prices F. O. B. Factory, Brooklyn, New York
Write for Literature
PRECISION LABORATORIES
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OPTICAL-MAGNETIC
Model 800 ..16mm, 35mm & Vi inch
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OPTICAL
Model 600 . 16mm and 35mm
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MAGNETIC
Model 700 . 16mm, 17.5mm, 35mm
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NET PRICE $198.00
closing the shutter as the camera pans
from shade to light. But how much
shall we close it? A glance at the
meter dial shows that f/4 (the shade
reading) appears opposite the i/^-open
shutter mark (2, in Fig. 2). This indi¬
cates that the variable shutter can be
moved from open to 1/4-open in full sun
to maintain the same exposure during
the panning of the camera.
To clarify this, the lens is set at f/4
at the beginning of the pan (in shade)
and the shutter in open position. As the
camera is panned, the shutter control
lever is gradually moved until shutter is
closed down to the !/4-open position
when the camera’s field of view reaches
full sun. Thus the shutter speed of
the camera during the panning action
ranges from 1/35 second (in open posi¬
tion I to 1/140 second at conclusion of
the shot when it is stopped down to
l/^-open position. The lens aperture,
meanwhile, remains constant at f/4, the
amount of light reaching the lens is
controlled — and kept uniform — by grad¬
ually closing the shutter.
Another example of the extended use¬
fulness of the modern exposure meter
is its ability to determine the lens open¬
ing to use when shooting high speed
action in slow motion. With the Cine
Special, this would be at 64 f.p.s. Let
us say that we have decided to use the
smallest shutter opening — 14-open —
Mi
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American Cinematographer
September. 1955
549
Now! A 400ft. Magazine
For Your BOLEX H-16
Ask about our Rack-Over , Sports-
finder and Camera Base .
TOLEDO CINE ENGINEERING
1309 Milburn Ave. Toledo 6, Ohio
which would give an exposure of 1/560
second (See table), and we wish to
know what the aperture setting should
be. An exposure meter reading of the
existing light shows the value to be f/8
at 16 f.p.s. (1 in Fig. 2). Checking this
same dial setting it is noted that the
exposure at 64 f.p.s. is f/4 (2 in Fig. 2).
We then set the 16 of the Cine Frames
dial over the f/4 mark (3 in Fig. 2),
and a glance at the exposure figure for
the /4-open shutter positions shows it to
be f/2 (4 in Fig. 2) — the lens setting
for the 1/560 second shutter speed.
Taking a reverse situation — shooting
at 8 f.p.s. in order to speed up action on
the screen, but at a higher shutter speed
than afforded by the normal fully open
shutter. An exposure meter reading of
the light shows it to be the same as in the
example above, i.e., f/8 at 16 f.p.s. Re¬
ferring to the figure 8 (for f.p.s.) on
the Cine Frames dial of the meter, we
note the aperture setting for this cam¬
era speed is f/11. We next set the figure
16 of the Cine Frames dial over the f/11
mark and refer to the exposure indicator
under the 14-open mark which is f/5.6,
giving a shutter speed at 8 f.p.s. of 1/70
second.
The /4-open shutter position was se¬
lected for illustration in the above in¬
stances only as an example. The same
procedures would apply for the l/fj-open
or %-open positions. Selection of shutter
opening, of course, will sometimes de¬
pend on how fast a shutter speed is re¬
quired to “stop" certain fast action and
prevent blur.
Because the variable shutters of the
cameras considered here all give the
basic exposure of 1/35 second at 16
f.p.s., the aperture figures for other f.p.s.
speeds may appear in amounts not cor¬
responding to the even figures found on
most exposure meter dials. (See table
on page 548). In most cases, the differ¬
ence is so slight as to be disregarded,
but critical workers may wish to change
to another aperture by electing to shoot
at a different shutter opening.
For example — shooting high-speed
panchromatic film out of doors, the
meter reads f/28 at 24 f.p.s. But the
smallest aperture afforded by the cam¬
era lens is i/22. A glance at the modi¬
fied meter dial shows that a stop of f/13
can be used instead by shooting with
the shutter in the /4'°Pen position, end
Complete
with
Synchronous
Motor
and Base
Includes
Installation
and
Case
Permits continuous 400 ft. run of 16mm film — -
the 200 ft. daylight loading spool may be used
in the 400 ft. magazine. The 100 ft. spool can
be used in the camera without removing ex¬
ternal magazine. Fully guaranteed. Can YOU
shoot a continuous wrestling match, prizefight or
football game? If not write for complete in¬
formation or see your Bolex dealer.
Automatic dissolve attachments for Cine'
Special and Bolex H-16 and 8 (Equipped
with Pellegrini Shutter)
JOSEPH YOLO, 1037 N. La Brea
Phone GL. 7103 Hollywood, California <
Video Film Laboratories
131 West 23rd Street
New York 11, N.Y.
Complete 1 6mm laboratory service for
Producers using the Reversal Process
Also 1 6mm Negative and Positive
developing.
WRITE FOR PRICE LIST
Established 1949
^FILTERS
In World'Wid* Uss
Produce moonlight and night effects
in daytime -fog scenes - diffused focus
and many other effects.
Information mailed on request.
SCHEIBE FILTERS COMPANY
originators of effect filters
P O. Bex 46834, Hollywood 46, Calif.
NEW S6 MAGNETIC RECORDER
(Continued from Page 537)
where only a single microphone is used.
In the two-unit system, all functions are
available such as recording gain control,
playback gain control with a selective
switch for “Live” and “Tape,” dialogue
equalizer, and adjustments for optimum
frequency response.
The single ease unit employs Stancil-
Hoffman’s recently developed subminia-
lure compression recording and play¬
back amplifiers. Incidentally, this
electronic section, complete with its
dry batteries, weighs a mere 3% pounds.
The compression feature offers a wide
latitude of sound pick-up so that it is
possible to record the speech of a mov¬
ing person ranging from microphone
position up to a distance of 10 to 15
feet away, with the recording level re¬
maining constant.
All of the units are uniform in size.
Panel is 141/," x 10%". Depth of each
unit is 6". To keep weight at the ab¬
solute minimum, a durable, flexible
“Royalite" plastic case encloses each
unit. Case is held in place by two
thumbscrews, which also secure the
handle and four rubber feet. The case
may be removed in a matter of seconds
to permit access to the mechanism com¬
ponents. Choice of the “Royalite” ease
was predicated on the desire to provide
equipment with lowest possible weight
for low-cost aerial or express shipment.
While the model S6 is said to repre-
JTsent one of the major advancements in
portable magnetic sound recorder de¬
sign, the most interesting feature per¬
haps is the system’s adaptibility for
battery operation. ith sound systems
through the years a wide variety of
battery voltages have been used. Gen¬
erally no consideration has been given
to the power facilities necessary for the
camera, although the chief purpose of
a held recording system is to provide
lip-sync sound with a minimum of
equipment.
In designing the S6, a study of the
efficiencies of batteries indicated that a
24-volt battery was the most ideal, con¬
sidering weight and size, and it was
made the basic power source for opera¬
tion of both camera and sound equip¬
ment.
All amplifier filaments of the S6 work
in 24-volt strings which can be directly
tied across the battery. The amplifiers
may be operated from “B” batteries,
but a tremendous amount of weight is
saved through the use of a small dyna-
motor which is an integral part of the
system, and which operates from the
24-volt battery to furnish 250-volt out¬
put. The dynamotor is completely
enclosed and shielded, both electrically
and accoustieally.
As stated earlier, either a 110-volt
single-phase or a 220-volt 3-phase motor
550
Am f.r ic an Ci n em atogr apher
September, 1955
Film Editing Made Easy
with NEW
professional
film viewer
Every film editor will appreciate a
viewer that enables him to view
his film from left to right — on a large,
brilliantly illuminated screen.
The Professional Film Viewer makes
film editing a breeze. Easy
threading, portable, will not
scratch film. Put this viewer between
35mm Model $375
your rewinders and speed up your
editing. Size of Viewing Screen 53/t x 43/t.
FRANK
C . Z U C K E R
Qmm €
quipmcnT (
g
1600 BRORDUJfly
\ fl€UJ yORK CITy
Write
Dept. A-9-4
may be used interchangeably with the
system. When operating from batteries,
it is only necessary then to provide one
or the other power system to handle
the recorder. In the early stages of de¬
veloping the Model S6, the company
proposed using a “multi-duty” or AC/DC
camera motor operating from a 24-volt
battery source. Due to the extremely
high cost of motors of that type and
to the mechanical problems in adapting
them to the wide variety of motion pic¬
ture cameras in use today, the proposal
was discarded in favor of the compar¬
atively inexpensive 24-volt-DC-/to-110-
volt-AC vibrator inverter. This item of
equipment weighs only 19 pounds and
has ample capacity to power any 16mm
camera motor along with the S6 trans¬
port system. It is adequately filtered so
that it offers no objectional electrical
noise. The recording and playback am¬
plifiers plus the inverter altogether pull
in the order of 4 amperes from the 24-
volt battery, so that it is possible to
operate for an average day of normal
shooting without need for recharging.
In designing the 35mm camera drive,
the company encountered a severe prob¬
lem. Because the Mitchell NC and BNC
cameras have long been standard equip¬
ment in Hollywood studios, cameramen
have come to favor a 3-phase 220-volt
drive motor. It offers the reserve power
Model 35-16C
SEIMSITESTER
★ IMMEDIATE DELIVERY
to the lab owners interested in —
• DUAL MACHINE
1 — Sensitometer
2 — Scene Tester
• HIGHLY ACCURATE
Electronic timer unaffected
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• NEW TYPE LONG-LIFE
Cold Light Exposure Unit
• WITHOUT ADDITIONAL
EXPENSE will match any
printer
Combination 35mm-l 6mm
ART REEVES MOTION PICTURE EQUIP.
7512 Santa Monica Blvd.
Hollywood 46 California
American Cinematographer
September, 1955
551
The FINEST
400-Ft. CONVERSION
of Auricon Cine-Voice
with your
magazine
Hinged Door. Write for Details
Filmtronics, Inc.
Det. A, 96 Huntinton St., New London, Conn.
PORTABLE WATSON CINE' DEVELOPING
OUTFIT . . . provides a SIMPLE, EFFI¬
CIENT, ECONOMICAL and SPEEDY means
for PROCESSING up to 200 ft. of 16mm
or 35mm (also 70mm) film—
• LOW COST Uniform Processing! Req¬
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• 3 nesting tanks-reels-scratch-proof loader
• PREFERRED by MORE Professionals
• SIMPLE operation MINIMUM cost-
• FULLY GUARANTEED -prices from $89.00
Extra Reels Tanks etc., available.
Write f or FREE Processing Booklet. Dept AC
BURKE & JAMES, INC. 321 So. Wabash, Chicago 4.
Automatic Daylight Processing
DEVELOPING TANK
» Processes up to 200 Ft.
• 8mm- I6mm-35mm
« Movie — X-Ray — Microfilm
« Motor driven portable
• Tough plastic tanks
• Uniform Density Assured
• 70mm tank also available
FILM DRYER
• Motor driven — Heated
• Speedy drying
• Automatic shrinkage allow¬
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• Stainless steel and
aluminum construction
• Easily assembled without
tools
• Compact, Portable
Guaranteed. Write for Free Literature.
Micro Record Corp.
necessary to drive the camera efficiently
at low temperatures, and it is extremely
quiet acoustically. But on location cam¬
era motors of this type generally require
use of a sound truck, which has battery
power sufficient to drive both the camera
motor and the recording equipment, and
this often limits portable operation and
distant location shooting, which are im¬
portant factors in film production today.
To overcome this, Stancil-Hoffman de¬
signed a rotary converter generating 230
volts of 3-phase current from a 24-volt
storage battery. This provides sufficient
output to drive a Mitchell camera motor
along with the S6 recording system
under any environmental conditions.
The converter, along with its control
unit, also permits “undercranking” the
camera, which is so important in many
motion picture photographic assign¬
ments. The converter weighs 35 pounds
and operates from the same 24-volt
battery which powers the electronic sec¬
tion of the S6. It is acoustically quiet
and does not create any electrical noise
in the system. The control unit, also
known as the camera control, operates
from a remote position to stop and start
the converter; it also sets the speed,
as indicated by vibrating reeds, in any
range between 16 and 26 f.p.s. The
reeds are calibrated in half-frame in¬
crements. from 23 to 25 frames.
According to William Stancil, presi¬
dent of the company, in designing the
S6 system, the company has endeavored
to provide as accessories all cables, bat¬
teries, battery chargers, spare tube kits,
microphones, sound powered telephones,
plug-in audio oscillators necessary to
field maintenance — everything that is
required for a complete sound recording
system.
“Our aim.” he said, “has been to
provide the film producer with a port¬
able magnetic recording system that is
sufficiently complete, compact, and effi¬
cient to enable him to accomplish the
most difficult mobile or location shots.”
SHOOTING MOVIES FROM THE AIR
(Continued from Page 541)
therefore in reducing the interval be¬
tween exposed frames of the terrain. In
addition it will give a shorter exposure
time, or increased shutter speed. This
more than compensates for the slightly
more prolonged exposure where a larg¬
er shutter opening is used, and also
results in a slow-motion effect which
minimizes the effect of vibrations.
When filming from a plane the cam¬
era speed should be higher than normal.
This reduces the interval between
frames, gives a shorter exposure time,
and slows down undesirable camera
movement on the screen. Depending up¬
on the speed and altitude of the plane,
a shooting speed of 32 to 64 frames per
second should be used to obtain normal
effects in 24 f.p.s. projection. (24 to 48
frames per second for projection at 16
f.p.s.). As increasing altitude takes you
farther from your subject, the camera
speed may be reduced without inducing
flicker on the screen. When filming
from an extremely slow-moving aircraft,
such as a helicopter or blimp, the nor¬
mal camera speed may be quite accept¬
able, even for low altitudes.
Because of the forward speed and
inherent vibration of most planes, it is
not advisable to use long focal length
lenses for aerial cinematography. On
the other hand a wide-angle lens should-
n t be used either, because of it’s tend¬
ency to exaggerate distances. As a gen¬
eral rule, the normal angle lens will give
the best results.
Where a camera with turret is being
used, the lens caps should be removed
from all lenses, otherwise they may be
blown off and lost in the slip stream
during flight.
The taking lens should be set at in¬
finity focus and locked or taped in that
position. Any other settings that might
easily be knocked out of position should
be taped in place.
Basic exposure calculations for aerial
photography are essentially the same as
those for ground photography. In other
words, whatever, basic exposure you
would use for a subject on the ground,
use the same exposure for that shot
from the air. Exposure allowances must
be made for faster camera operating
speeds and when using some haze-cut¬
ting filters. Where your target (sub¬
ject) involves a large amount of sur¬
rounding foliage, allow for additional
exposure. On the other hand, if con¬
fronted by large bodies of sand, water,
snow or numerous puddles of rainwater,
the additional reflectance will require
stopping down exposure. In the air. ex¬
posure consideration must be given for
sidelighting and backlighting, just as in
ground photography. However, for aer¬
ial work, a greater hazard of overex¬
posure exists for backlighted subjects
surrounded by water because it casts
back reflections of the sun.
W hen exposures are determined with
a reflectance type exposure meter, read¬
ings should be taken on the ground be¬
fore the take-off. Meter readings from
the air pick up too much reflectance of
haze and therefore tend to give a false
reading. Where exposure conditions
552
American Cinematographer
September, 1955
NOW! MOST ADVANCED REVERSAL
ON MARKET FOR ONLY $2495!
AMAZING NEW PERFORMANCE PROVED BY ACTUAL OPERA¬
TION IN HUNDREDS OF CUSTOM FILMLINE INSTALLATIONS
Processes reversal films at 900 ft. per hour
Handles negative and positive film at speeds up to
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SIZE: 76" x 48" x 24"
WEIGHT: 450 lbs. crated
PRICE: $2495 F.O.B. Milford, Conn.
Accessories additional
WRITE TODAY FOR FULL DETAILS AND LITERATURE
One of 12 standard models from $1 095
MODEL R15 REVERSAL FILM PROCESSOR
FOR TV, INDUSTRY, C0LLEGES-0THERS
NEW DESIGN CONCEPT! Units removable for cleaning.
Eliminates maintenance.
NEW SIMPLICITY OF OPERATION!
NEW EXCLUSIVE OVERDRIVE! Eliminates film break¬
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NEW COMPLETE DAYLIGHT OPERATION! No dark¬
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NEW QUALITY THROUGHOUT! Heavy gauge stainless
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Filmline leads the field in engineering and manufacturing standard and cus¬
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DISTRIBUTORS: Comera Equipment Co., 1600 Broadway, New York, N. Y. • S. W. Caldwell, Ltd., 447 Jarvis St., Toronto, Canada.
change while in flight, and you need to
take meter readings, take a reading from
the palm of your hand, with the hand
facing the sun in the same relationship
as the snn is to the “target.’'
Meter readings from a neutral “grey
card" will be found more consistently
reliable if you have already established
that practice. In the plane meter read¬
ings should he taken with the sunlight
coming through an open window to
strike reflective surface. When possible
shoot through an open window. If you
must film through plexi-glass then it
will he necessary to open up from a half
to a full stop to allow for the loss of
light transmission. A meter reading
taken with the light source filtering
through a plexi-glass window would dis¬
count the light loss in filming and will
therefore read directly in the correct
basic exposure. Don’t forget, however,
to open-up for a change in frames per
second. (Doubling f.p.s. will require
opening one f/ stop.) Also don’t forget
to open up additionally for the haze-cut¬
ting filter if one is used. (See the ac¬
companying table on filters.) While
air-borne, do not expect to get a reliable
reading, from an incident-type meter,
unless it is converted for reading re¬
flected light. Where weather conditions
are not changing rapidly, the best bet
is to determine exposure and make all
(Continued on Page 555 )
COMPLETE MOTION PICTURE EQUIPMENT
FROM ONE SOURCE
CAMERAS
MITCHELL
16mm
35mm Standard
35mm Hi-Speed
35mm NC • 35mm BNC
BELL & HOWELL
Standard • Eyemo * Filmo
ARRIFLEX
16mm • 35mm
WALL
35mm single system
ECLAIR CAMERETTE
35mm • 16/35mm
Combination
AURICONS
all models single system
Cine Kodak Special
Maurer • Bolex
Blimps • Tripods
DOLLIES
Fearless Panoram
Cinemobile (CRAB)
Platform • Western
3 Wheel Portable
LIGHTING
Mole Richardson
Bardwell McAlister
Colortran
Century
Cable
Spider Boxes
Bull Switches
Strong ARC-Trouper
10 Amps 110V AC 5000 W-
2000 W -750 W
CECO Cone lites
(shadowless life)
Gator Clip lites
Barn Doors
Diffusers
Dimmers
Reflectors
WE SHIP VIA AIR, RAIL
EDITING
Moviolas • Rewinders
Tables • Splicers
Viewers (CECO)
GRIP EQUIPMENT
Parallels • Ladders
2 Steps • Apple Boxes
Scrims • Flags
Gobo Stands
Complete grip equipment
SOUND EQUIPMENT
Magnasync-magnetic fUm
Reeves Magicorder
Mole Richardson Booms and
Perambulators
Portable Mike Booms
Portable Power Supplies to
operate camera and recorder
OR TRUCK
FRANK C . ZUCKER
(Jflm€Rn (iouipmenT (o.
Dept. A- 9-1 9* 1600 Broadway • New York City
]
American Cinematographer
September, 1955
553
HOLLYWOOD STUDIO PRODUCTION
Feature and television film productions for which members of the American Society of
Cinematographers were engaged as Directors of Photography during the past month.
AMERICAN SOCIETY
OF CINEMATOGRAPHERS
•
Arthur Miller, President
Sol Halprin, First Vice-President
William Skall, Second Vice-President
Alfred Gilks, Third Vice-President
Walter Strenge, Treasurer
Charles G. Clarke, Secretary
Robert de Grasse, Sergeant-At-Arms
BOARD OF GOVERNORS
Joseph Biroc
George Folsey
Burnett Guffey
Winton Hoch
Hal Mohr
Ray Rannahan
Leon Shamroy
Philip Tannura
ALLIED ARTISTS
• Ellsworth Fredericks, ‘World Without
End,” (Color; CinemaScope) with Hugh Mar¬
lowe, Nancy Gates, Lisa Montcll, Shawn
Smith. Edward Bernds, director.
• Floyd Crosby, “Shack Up On 101,” (Re¬
titled “Girl on 101”) with Terry Moore, Frank
Lovejoy, Keenan Wynn, Lee Marvin, Edward
Dein, director.
• Ellsworth Fredericks, “Calculated Risk,”
with Bill Elliott, Beverly Garland, Tom Drake,
Helene Stanton, Hubert Cornfield, director.
COLUMBIA
• Ray June, “Tambourine,” (Technicolor,
CinemaScope) with Jane Russell, Cornel
Wilde, Luther Adler, Joseph Calleia, James
Russell. Nicholas Ray, director.
• Charles Lawton, “Jubal Troop,” (Tech¬
nicolor; CinemaScope) with Glenn Ford, Ern¬
est Borgnine, Rod Steiger, Valerie French,
Felicia Farr, Basil Ruysdael, Noah Berry Jr.,
Delmer Daves, director.
• Harrry Stradling, “The Eddie Duchin
Storv.” (Technicolor; CinemaScope) with Ty¬
rone Power, Kim Novak, James Whitmore, Rex
Thompson. George Sidney, director.
METRO-GOLDWYN-MAYER
• Arthur Arling, “I’ll Cry Tomorrow,” with
Susan Hayward, Rihard Conte, Eddie Albert,
Don Taylor, Jo Van Fleet. Daniel Mann, di¬
rector.
• Russell Harlan, “The Last Hunt,” (East¬
man Color; CinemaScope) with Robert Tay¬
lor, Stewart Granger, Llcyd Nolan. Richard
Brooks, director.
• Robert Surtees, “Tribute To A Bad Man,”
(Eastman Color; CinemaScope) with James
Cagney, Stephen McNally, Irene Papas, Don
Dubbins. Robert Wise, director.
PARAMOUNT
• Loyal Griggs, Wallace Kelley, Peverell
Marley, “The Ten Commandments,” (Vista-
Vision, Technicolor), with Charlton Heston,
Anne Baxter, Yul Brynner, et al. Cecil B. De
Mille, director.
• Daniel Fapp, “The Birds and the Bees,”
(Technicolor, VistaVision ) , with George Go-
bel, Mitzi Gaynor. Norman Taurog, director.
R.K.O. -RADIO
• William Snyder, “Great Day In The Morn¬
ing,” (Technocolor; Superscope) with Robert
Stack, Virginia Mayo, Ruth Roman, Alex
Nicol, Raymond Burr. Jacques Tourneur, di¬
rector.
TWENTIETH CENTURY-FOX
• Leon Shamroy, “Good Morning, Miss
Dove,” (Color; CinemaScope) with Jennifer
Jones, Robert Stack, Kipp Hamilton, Robert
Douglas, Peggy Knudson, Biff Elliott, Mary
Wickes, Chuck Connors. Henry Koster, di¬
rector.
• Milton Krasner, “Rains of Ranchipur,”
(Color; CinemaSope) with Lana Turner, Rich¬
ard Burton, Fred MacMurray, Joan Caulfield,
Michael Rennie, Paul H. Frees. Jean Negu-
lesco, director.
• Charles Clarke, “Carousel,” (Color; Cine¬
maScope) with Frank Sinatra, Shirley Jones,
Barbara Ruick, Cameron Mitchell, Claramae
Turner, Audrie Christie, Robert Rounseville.
Henry King, director.
• Leo Tover, “The Lieutenant Wore Skirts,”
(Color; CinemaScope) with Tom Ewell,
Sheree North, Les Tremayne. Frank Tashlin,
director.
UNIVERSAL-INTERNATIONAL
• Ellis Carter, “A Day of Fury,” (Techni¬
color), with Dale Robertson, Jock Mahoney.
Harmon Jones, director.
• William Daniels, “The Benny Goodman
Story, ’ (Technicolor) with Steve Allen, Donna
Reed, Berta Garsten, Barry Treux, Harry
James, Ben Pollack, Gene Kruppa, Lionel
Hampton, Teddy Wilson. Valentine Davies, di¬
rector.
• Ellis Carter, “A Day of Fury,” (Techni¬
color) with Dale Robertson, Mara Corday,
Jack Mahoney, Carl Benton Reid, Jan Merlin,
John Dehner. Harmon Jones, director.
• Jack Russell, “Law Man,” (Technicolor)
with John Agar, Mamie Van Doren, Richard
Boone, Leif Lrickson, Coleen Gray. Charles
Haas, Director.
• Harold Lipstein, “Pillars in the Sky,”
(Technicolor; CinemaScope) with Jeff Chand¬
ler, Dorothy Malone, Keith Andes, Ward Bond.
George Marshall, director.
• Maury Gertsman, “The Creature Walks
Among Us,” with Jeff Morrow7, Rex. Reason,
Leigh Snowden, Gregg Palmer. John Sher¬
wood, director.
WARNER BROTHERS
• William Mellor, “Giant,” (Warnercolor)
with Elizabeth Taylor, Rock Hudson, James
Dean, Jane Withers. George Stevens, director.
• Sam Leavitt, “The Court-Martial of Billy
Mitchell,” (Warnercolor, CinemaScope), with
Gary Cooper, Ralph Bellamy, Fred Clark,
Herbert Heyes. Otto Preminger, director.
• Edwin DuPar, “The Lone Ranger,” (War-
r.er-Color) with Clayton Moore, Jay Silver-
heels, Bonita Granville, Lyle Bettger, Robert
Wilke, Perry Lopez, and Michael Ansara.
Stuart Heisler, director.
• Ted McCord. Tom Tutwiler, “The Spirit
of St. Louis,” (Warner-Color; CinemaScope)
wi th J ames Stewart. Billy Wilder, director.
INDEPENDENT
• Winton Hoch, “The Searchers,” (C. V.
Whitney Pics.; Color; VistaVision) with John
Wavne, Jeff Hunter, Vera Miles, Ward Bond,
Natalie Wood, Lana Lisa Wood. John Ford,
director.
• Guy Roe, “Six Gun Lady,” (Lyon & Bart¬
lett Prods.) with Peggie Castle, William Tal-
man, Marie Windsor, Bob Lowery, Joe Bes-
ser, Ian MacDonald, Earl Lyon. Richard Bart¬
lett, director.
• Karl Struss, “Mohawk,” (Eastman Color;
Wide-screen; for 20th Century-Fox release)
with Scott Brady, Rita Gam, Neville Brand,
Lori Nelson. Kurt Neumann, director.
© Lucien Ballard, “The Killer Is Loose,”
(Crown Prods.) with Joseph Gotten, Rhonda
Fleming, Wendell Corey, Michael Pate, Alan
Hale. Budd Boetticher, director.
• Lionel Lindon, “Around the World in 80
Days,” (Michael Todd Prods.; Todd-A-O)
with David Niven, Cantinflas, Luis Dominguin.
TELEVISION
( The following directors of photography
were active last month in photographing films
for television in Hollywood, or were on con¬
tract to direct the photography of television
films for the producers named.)
Alan Stensvold, “Dr. Hudson's Secret Jour¬
nal,” (Authors); “Andys Gang,” (Ferrin).
Kenneth Peach, “Steve Donovan, Western
Marshall,” (Chertok) ; “Fury,” (TPA).
Karl Freund, “December Bride,” (Desilu) ;
“The Jimmy Durante Show,” (Fawn-Desilu) .
Nick Musuraca, "The Lineup," (Desilu).
Sid Hickox, “My Favorite Husband,” (CBS-
Desilu ) .
Robert DeGrasse, “Make Room for Daddy,”
( Marterto-Desilu) ; “It's Always Jan,” (Jan-
ard-Desilu).
Harold Wellman, “Wyatt Erp," (616-Desilu).
Walter Strenge, “The Way,” (Family).
Virgil Miller, “You Bet Your Life,’’ (Film-
craft).
Ernest Miller, “Gunsmoke,” (Filmaster).
William Bradford, Flying A Prodns.
Lester White, “Navy Log,” (Gallu).
Mack Stengler, “Ina Ray Hinton Show,'' and
“It’s Fun To Reduce,” (Guild).
Norbert Brodine, “The Loretta Young Show,”
(Lewislor) .
Stuart Thompson, “Lassie,” (Maxwell).
George E. Clemens, “Schlitz Playhouse of
Stars,” (Meridian).
Henry Sharp, “Sheena, Queen of the Jungle,”
(Nassour).
Jack McKenzie, "Frontier,” (Outpost).
Lucien Andriot, “It's a Great Life,” (Radic).
Ed Fitzgerald, “You Are There,” (Roach).
Lothrop Worth, “The Great Gildersleeve,”
( Roach) .
Gilbert Warrenton, “Sergeant Preston of the
Yukon,” (Skinner).
Lloyd Ahern, “My Friend Flicka,” (TCF).
Guy Roe, “Gangbusters,” (Visual).
Carl Guthrie, “Cheyenne,” and King’s Row,”
( Warners) .
Harold Stine, “Casablanca,” (Warners).
Joe Biroc, “This Earth . . . This Land,”
(Town & Country).
554
American Cinematographer
September, 1955
SHOOTING MOVIES FROM THE AIR
(Continued from Page 553 )
lens settings before leaving the ground.
At higher altitudes, aerial haze be¬
comes a problem. Methods of counter¬
acting this haze will vary, depending on
whether color or black-and-white film is
being used. First, consider the use of
haze-cutting filters for black-and-white
film. The higher the altitude, the more
harmful is the effect of haze, and, ac¬
cordingly, the denser your filter will be.
Exposure, therefore, will also vary ac¬
cording to the filter used.
Aerial views from high altitudes are
often veiled by water vapor in the at¬
mosphere, though this is not always vis¬
ible to the eye. If the haze is visible it
will appear bluish, and is not to be con¬
fused with smoke, dust, or fog. Smoke
and dust are solid particles. Fog is
made up of millions of tiny water par¬
ticles (not water vapor) and these
particles cannot be penetrated by the
use of haze cutting filters.
Haze has the effect of reflecting and
scattering light of the shorter wave
lengths (ultra-violet and blue light).
Since all black-and-white films are sen¬
sitive to light of the shorter wave
lengths, this extremely actinic light (full
of radiant energy) will be recorded to
produce a milky appearing veil over the
scene if no filter is used. The veiling
of the image becomes more pronounced
as altitude of the plane is increased, or
if the plane-to-target distance is in¬
creased as in high obliques.
The following table indicates the fil¬
ters recommended for use with panchro¬
matic film under various atmospheric
conditions, and at different altitudes.
Filter factors are included in parenthe¬
sis. Personal experience may suggest
some variations from this table, particu¬
larly in the more arid region, where
aerial haze is much less of a problem.
Color aerial photography does not
permit a wide selection of haze-cutting
filters. The amateur cinematographer
may wish to use a U.V. filter in con¬
junction with Daylight Kodachrome.
The Type A conversion filter (Wratten
#85) used with Type A Kodachrome
screens out much of the haze and gives
very satisfactory results.
Framing for aerial movies is much
the same as for ground coverage. Keep
the subject as nearly centered as pos¬
sible or a little above center. In low
obliques and verticals the horizon will
not show at all. In high obliques let
the horizon come where it may, so long
as the target is fairly well centered.
Avoid including any more than a small
portion of wings, struts, propellers, or
engine nacelles. Do not allow the win¬
dow edges to cut off any of your image.
\X hen filming from a multi-engined
plane, avoid shooting through the ex¬
haust stream, otherwise the screened
image will be wavy, distorted, or
blurred.
You rarely will be able to shoot in
basic sequence from the air. Neverthe¬
less try to film your subject from three
different altitudes whenever possible,
so that in editing, it can be cut for basic
sequence, if desired. gND
FILTERS FOR BLACK AND WHITE AERIAL MOTION PICTURE PHOTOGRAPHY
Altitude
Relatively Light Haze
No Haze
(Very low (Moderate
humidity) Humidity)
Heavy Haze
may appear
bluish
(High
Humidity)
Below 1000 feet
No Filter K-2 (2x)
light yellow
G (3x)
deep yellow
1000-2000 feet
No Filter G (3x )
A-25 (8x )
Low Obliques
and
2660-5000 feet
No Filter G (3x)
light red
A-25 (8x )
Verticals
5000-10,000 feet
K-2 (2x) A-25 (8x)
deep red or
*Infra-red
Above 10,000 feet
G (3x) A-25 (8x)
deep red or
*Infra-red
High Obliques
Below 2000 feet
K-2 (2x) G (3x)
A-25 (8x)
( including
horizon )
Above 2000 feet
G (3x) A-25 (8x) deep red or
*Infra-red
*Used with Infra-red film
(2X=opening one f/stop)
(3X=opening one and one-half stops)
(8X=opening three f/ stops)
Video Film Laboratories
is now located at
350 West 50th Street
New York 19, N. Y.
TELEPHONE: JUdson 6-7196
*
Complete 16mm laboratory service
for Producers using the
Reversal Process
Also 16mm Negative and Positive
developing.
★
WRITE FOR PRICE LIST
Established 1949
It's easy with the
MERCER FILM PATCH
Descriptive Chart & Price List
Mailed on Request
R.C. MERCER & COMPANY
4241 Normal Ave., Holywood 29, Calif.
NOrmandy 3-9331
PROCESSING
Reversal specialists for over a decade.
Our long experience insures superior quality.
Electronically controlled machines keep tem¬
perature constant within .2 of one degree.
National "Brilliantone” Cine prints are the Finest
available. Write for free catalogue.
CONTACT PRINTING
WORK PRINTS
EDGE NUMBERING
All work vaporated «t no extra charge
B & W DUPLICATING
KODACHROME DUPLICATING
VACUUMATING
NATIONAL CINE LAB
Box 4425
Wathington 17, D. C.
American Cinematographer
September, 1955
555
FILMING A PRIZE WINNER
( Continued from Page 538 )
8 and 16mm
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move indoors if the sky should become
overcast.
Ruffner took special pains to keep
the lighting at the same level in his in¬
door shots, so that the scenes would
match when they were edited. He ac¬
complished his purpose by moving his
lights closer or farther from his subjects
rather than by adding to or subtracting
from the number of units used. Notes
on exposure were made after each shot
so that corrections could be made, if re¬
takes were necessary.
Another practice which Ruffner found
to be invaluable was the projection on
his film viewer of scenes shot on the
previous weekends. By using this tech¬
nique, which he borrowed from profes¬
sionals, Ruffner could compose and light
his shots so that they would fit smoothly
with those already taken.
While filming the indoor scenes,
Ruffner discovered that his 15inm lens
did not possess a wide enough angle.
He was obliged to buy a 13mm lens
which enabled him to take the neces¬
sary shots in the cramped quarters.
Because the indoor shooting was car¬
ried on at intervals of two or three
weeks, meticulous notes were kept. Such
seemingly trivial items as the position
of a plate on the dining-room table and
the number and shape of Geraniums in
a vase were recorded for further refer¬
ence.
While Ruffner was solving his photo¬
graphic problems, the actors had their
own difficulties with which to contend.
Mrs. Osenda had to forego a permanent
for several months. Her hair had to
appear the same in shots taken weeks
apart. Thus, it could not be changed.
The family was forced to store new
furniture purchased during the shooting
of the picture. The heavy articles would
have been too difficult to move in and
out of the house for a day or two of
movie making each week.
“Complete cooperation is imperative
in amateur productions,” Ruffner said.
“Everyone has to agree from the start
to carry the work through to comple¬
tion in spite of the sacrifices which each
will have to make. Without such under¬
standing an amateur film is doomed to
failure before it is begun.”
Authenticity of appearance gave Les
Thomson, who played the blind man,
several amusing moments. During the
shooting on the streets of Sunnyvale, an
elderly woman did not see the camera
and mistook Thomson for a real blind
person. She paused, took a coin from
her purse and dropped it into the hat
he was holding. The lady walked on
without realizing that he was an amateur
actor. Thompson later gave the money to
a deserving cripple.
Osenda continually was kidded by
fellow workmen at the firm where he
and Ruffner are employed. Each Thurs¬
day he had to stop shaving so that his
beard would be the right length for
weekend movie making. His beard and
clothing were convincing enough to fool
a group of real hoboes.
“We accidentally discovered a hobo
jungle when we were scouting locations
and decided to try to use the men who
stayed there in our production,” Ruff¬
ner explained. “When we were ready
to shoot, Eric approachd the men while
we stayed out of sight. At first they
thought he was one of their kind and
offered him some food. He told them,
however, that he was one of a group of
amateur movie makers who wanted
them to act in a picture. They agreed
and we moved in with our equipment."
While he was shooting sequences in
the hobo jungle, Ruffner made one
scene which has brought praise wher¬
ever the picture has been shown. It
shows the hobo imagining how he would
appear in a new suit of clothes. Osenda
first appears in his hobo costume and
through the use of a lap dissolve he is
shown in his imagined finery. Then a
lap dissolve is made back to the previ¬
ous shot.
Work on this scene was so skillfully
executed that persons not acquainted
with motion picture techniques wonder
how it was done. Experienced photog¬
raphers admit it is one of the best lap-
dissolve sequences that they have seen.
Throughout the scene Osenda’s pose
alters only slightly, in spite of the fact
that he had to move between takes to
make costume changes. Near perfection
was accomplished through the use of
diagrams, copious notes and careful
markings on the log on which Osenda
was sitting. Ruffner’s careful planning
paid off. The scene was successful on
the first attempt.
At a railroad yard, where the open¬
ing and closing sequences of the film
were shot, the group met a man who
had been a bit player in professional
motion pictures. He was interested in
their picture and introduced them to
the yard master.
“Through the cooperation of the two
men,” Ruffner said, “I was able to shoot
scenes which would have been difficult
to obtain otherwise. The yard master
held up switching several times so that
we could get the shots we needed.”
After the shooting of the picture was
completed, Ruffner and his wife still
(Continued on Page 558)
556
American Cinematographer
September, 1955
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rapher, 1782 No. Orange Drive, Hollywood 28, Calif. Forms close 15th
of month preceding date of issue. No discount on Classified Advertising .
STUDIO & PRODN. EQUIP.
SHOP AT THE ONE STOP SHOP
ANIMATION STAND COMPLETE for 16mm,
compound table with 360° rotation;
N-S-E-W Acme sliding pegbars; 4" to 12"
field; platen; Veeder counters; shadow box;
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value . $1295.00
HOUSTON FEARLESS PERAMBULATOR DOLLY,
$2100 value . 1350.00
TIME LAPSE INTERVAL Meters for Bolex and
Cine Special, complete . . . 146.00
AKELEY AUDIO SOUND CAMERA, 6 fast
lenses; 3 magazines; motor; V.D. gal¬
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and cases. $9500 value . . . 4450.00
AKELEY 35mm EDITING MACHINE, sound,
picture, preview, $3000 val . 1295.00
NEW FRESNEL STUDIO SPOTS, lead wires,
switch, pipe clamp.
2000 Watt _ $59.95 5000 Watt . 99.95
NEW 1500W NEWSREEL FLOODLITES, $100
value. Close out. . . 29.50
NEW ENCLOSED FILM STORAGE CABINETS,
capacity 20 — 400' reels, 2 drawers, gray
enamelled, $37.50 value . 14.95
Lots of 3 . . $12.95 Lots of 6 . 9.95
BARDWELL-McALISTER MULTIPLE FLOODLITES,
3 Quadruple heads to hold 12 bulbs on
rolling tripod stand. Orig. Gov't cost $180.
Surplus . 29.50
BM QUADLITE Heads only $4.95. Stands only 19.95
B&H 16mm FILMO SPECIALIST CAMERA
w/rackover, matte box, Mitchell type find¬
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value . 995.00
CUSTOM BLIMP for B&H 70D with sync motor 195.00
EASTMAN AIRGRAPH 16/35mm FILM DE¬
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Stainless steel tank and drum, drive motor,
heater, blower, $1800 value. Gov’t sur¬
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$500 value . . 225.00
BRIDGAMATIC 16mm PROCESSOR for nega -
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CINEX EXPOSURE TESTING MACHINES— used
by labs. Originally $4000.00. Rebuilt . 1995.00
ART REEVES 35mm OPTICAL SOUND RE¬
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STEEL SPARE PARTS CASES— 20 compart¬
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6 for $3.00 . . . 12 for $5.00
AURICON DOUBLE SYSTEM RECORDER w/noise
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TRADES TAKEN Cable; SOSOUND Dept, fc
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602 W. 52nd Street, New York 19. Phone PL 7-0440
1 YEAR OLD & STILL GROWING
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Reeves Sensitester . 425.00
B&H Motors Mod. 70 or 71 . . . 92.50
Moviola 16mm Prevue Mod . 1250.00
Mitchell Baby Tripod . 42.50
Nat. Cine Dolly, used . 239.50
Griswold 16mm Splicer, new . 14.95
B&H Specialist with Stop Motion, Rackover,
Fader, built in, with four lenses in turret.... 1495.00
Norwood Meter, new . 26.50
Eyemo, Single Lens Mod . 249.50
O'Connor Fluid Head 16mm . 260.00
Pro Jr. Tripod, used . 99.50
Cinekad Dolly . 85.00
Many other items, new & used.
Trades invited — Try us.
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1614 Cahuenga Blvd.
Hollywood, Calif.
STUDIO & PRODUCTION EQUIPMENT
CINE-Special camera, four lens turret; Maurer B&M
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GSPA 16mm MAGAZINE CAMERA, f3.5 as is....$ 24.95
PATHE 16mm LATEST MODEL.. . 279.50
BOLEX PAN CINOR ZOOM LENS . 199.50
KD 8mm ACTION VIEWER . 14.95
BOLEX STEREO OUTFIT, COMPLETE . . . 99.50
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18 E. 42nd St., New York 17, N.Y.
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MOVIOLAS — DOLLYS — BOOMS
Send for our constantly changing list.
Hundreds of Other Production Items.
Write — Wire — Phone
CINEMA SERVICE CORP.
106 West End Avenue, New York 23, N.Y.
TRafalgor 3-1411
AUDIO AKELEY single system camera complete with
Akeley sound head, Gyro tripod, 3 lenses, view
finder, Maurer mixing amplifier. Complete with
cables, power supply and W. E. microphone.
CAMERA EQUIPMENT CO., 1600 Broadway, New
York 19, N.Y. Cable.- Cinequip.
WALL S. S. 35MM. SOUND CAMERA
COMPLETE with Galvanometer, amplifier, portable
power supply, 40-50-75 and 100mm. lenses, erect
image viewfinder, complete front attachments, two
1000 ft. magazines. Balanced Tripod, necessary
carrying cases. Overhauled. Guaranteed perfect.
Reasonable.
CAMERA EQUIPMENT COMPANY
1600 Broadway New York 19, N. Y.
PRECISION Magnetic Heads for Engineers - Industry
Erase - Record - Playback
STANCIL-HOFFMAN CORPORATION
921 North Highland Avenue
Hollywood 38, California
CAMERAS, 35mm recording, single frame, 100' ca¬
pacity, Mfg. St. George, original cost approxi¬
mately $600.00, Complete, less lens, used, $12.50,
new, $150.00. Cash with order. Shipping weight
approx. 14 lbs. J. WALTON, P.O. Box 1457,
Tampa, Florida.
MAGNASYNC — 16mm magnetic recorder model SW-
602-RE, used only two months. INTERNATIONAL
MARKETERS, 2432 Iowa, Cincinnati, Ohio.
BRIDGAMATIC 16mm negative-positive machine, re¬
built to do 1200 ft. positive per hour $850.00.
MASTER FILM, 207 Third St., Elizabeth, N.J.
AURICON Pro CM71 and EIF View Finder, cases and
related equipment barely used. Write R. FAITH,
585 N. Winter Street, Salem, Oregon.
American Cinematographer
FOR SALE
GERMAN STILL 35mm cameras. I mport your own.
Save importers and retailers profits. (About 35%).
Pay postman duties. Examples: EXAKTA. The only
completely versatile 35mm camera. With:
Automatic diaph. Zeiss Tessar
F/2.8 . $159. (duty $22.)
Automatic diaph. Isco Westanar
F/2.8 . . . $139. (duty $19.)
Automatic diaph. Schneider Xenon
F/1.9 $195. (duty $26)
Automatic diaph. Zeiss Biotar
F/2.0 $199. (duty $26)
Similar prices all other famous makes. All new.
Latest 1955 production in original factory packing.
Parcelpost and insurance included. No other
charges. Pre-payment through bank and inspection
on arrival guarantees you complete satisfaction
before we are paid. Experienced, (and objective)
advisory service, (please specify interests and re¬
quirements), and pricelists by return airmail. All
transactions on money-back basis. WORLDPOST.
TANGIER, MOROCCO.
Bell & Howell Cameras with rackovers.
Used gear and friction-head tripods.
Mitchell, B&H, or barrel-mounted enses — any focal
length, any brand.
Used mike boom, wheeled, lightweight.
Used 3-wheel dolly with seat; sturdy.
Single sprocket 35mm film counters.
Used Mitchell upright viewfinders.
Single lens and turret Eyemos.
Molded Plastic Film Rollers.
Processing machine parts.
Arriflex cameras.
Projectors.
PRODUCTION & TEST EQUIPMENT
MACHINE AND CAMERA PARTS
Always thousands of items in stock.
Prices and true statement of condition always cheer¬
fully given.
ART REEVES MOTION PICTURE EQUIPMENT
AND CAMERA SUPPLY CO.
7512 Santa Monica Blvd., Hollywood 46, Calif.
16MM HOUSTON K-1A . . . developing machines.
For reversal or positive film. Complete with
refrigerator units, temperature control, condensors,
evaporators, thermostats, etc. BRAND-NEW, prices
reduced! Write. AIR PHOTO SUPPLY, Dept. C-l,
555 E. Tremont Ave., New York 57, New York.
WE BUY, SELL AND RENT PROFESSIONAL AND 16mm
EQUIPMENT, NEW AND USED. WE ARE DISTRIB¬
UTORS FOR ALL LEADING MANUFACTURERS. RUBY
CAMERA EXCHANGE, 729 Seventh Ave., New York
City. Established since 1910.
MOVIOLAS — composite and regular magnetic and op¬
tical sound projection picture. CINEMA RENTALS
COMPANY, 1 39C North Beachwood Drive, Burbank,
California. Thornwall 8-8953.
WANTED
SELL US WHAT YOU’VE GOT
Cameras, Dollies, Lenses, Lights,
Moviolas, Printers, Recorders,
Studio or Laboratory Equipment.
We also trade or take consign¬
ments. Set your own price — we’ll
get it.
Western Union-WUX New York,
Phone PL 7-0440
S.O.S. CINEMA SUPPLY CORPORATION
Dept, fc Cable; SOSOUND
602 W. 52nd Street New York 19, N. Y.
IMMEDIATE CASH PAYMENT FOR
CAMERAS AND EQUIPMENT
NEED EYEMOS (SINGLE LENS AND TURRET)
MITCHELLS, ARRIFLEX, DE BRIES, B&H STANDARDS
AND HI-SPEEDS, WALLS, AKELEYS, CINE SPECIALS,
AURICONS, MAURERS, FILMOS. ALSO BALTARS,
COOKES AND OTHER LENSES. SOUND STAGE
LABORATORY AND EDITING EQUIPMENT OF ALL
TYPES REQUIRED. PLEASE SHIP INSURED OR FOR¬
WARD DESCRIPTIONS AIRMAIL. IMMEDIATE PAY¬
MENT.
GORDON ENTERPRISES • 5363 N. Cahuenga
NORTH HOLLYWOOD, CALIFORNIA
(Continued, on Next Page;
September, 1955
557
Classified Ads
(Continued from. Preceding Page)
WANTED
WANTED TO BUY FOR CASH
CAMERAS AND ACCESSORIES
MITCHELL, B & H, EYEMO, DEBRIE, AKELEY ALSO
LABORATORY AND CUTTING ROOM EQUIPMENT
CAMERA EQUIPMENT COMPANY
1600 BROADWAY, NEW YORK CITY 19
CABLE: CINEQUIP
WANTED FOR SPOT CASH
Used Mitchells, Auricons — other Cameras
Moviolas — Editing Equipment — Projectors
Spotlights — Sound Equipment
All Types Used Equipment
From a Splicer to a Complete Studio
Write — Wire — Phone
or Send Equipment in for Spot Cash
FLORMAN & BABB Murray Hill 2-2928
68 West 45th Street New York 36, New York
WANTED
Mitchell — Akeley — B & H — Wall — Eyemo
Cameras — Lenses — Equipment
NATIONAL CINE EQUIPMENT, INC.
209 West 48th St. New York, N.Y.
WANTED
PRODUCTION EQUIPMENT, LABORATORY EQUIPMENT,
EDITING EQUIPMENT, 16mm. and 35mm. FROM SIN¬
GLE ITEMS TO COMPLETE STUDIOS. TRADES AC¬
CEPTED.
THE CAMERA MART, INC.
1845 Broadway Circle 6-0930 New York 23, N.Y.
F & B PAYS MORE
FOR USED 16/35MM EQUIPMENT
WRITE — WIRE — PHONE
FOR OUR CASH OFFER
FLORMAN & BABB MU. 2-2928
70 W. 45TH ST. NEW YORK 36, N.Y.
POSITIONS WANTED
NEGRO — Catholic, experienced cameraman, 35mm
newsreel, 16mm color productions, editing, light¬
ing, titling, also projectionist. MALCOLM MYERS,
3424 Clark Ave., St. Louis 3, Missouri.
CAMERA and recording team, two young men, ex¬
cellent background, experienced in 16mm color
productions, editing and titling. Can supply one
equipment. Box 1218, American Cinematographer.
YOUNG man, excellent background, experienced in
16mm camera work, editing, titling and recording.
Box 1219, American Cinematographer.
CAMERAMAN-writer-editor. Six years university, ex¬
pedition experience. Single. Write for resume.
RICHMOND LAWRENCE, 10 Collamer Road, Hilton,
New York.
PERMANENT position wanted by 16mm cameraman
familiar with all phases of industrial production.
Write BOX 1 220^ American Cinematographer.
ASSIGNMENTS WANTED
CAMERAMAN-writer-editor: experienced cinematograph¬
er have traveled throughout the USA on assign¬
ments. Will take overseas duty, underwater, etc.
Can also edit, prepare scripts, direct. College back¬
ground, young, 35. Full particulars write BOX
1217, American Cinematographer.
ALASKA assignments, 16mm sound or silent, 35mm
silent. DON CUTTER, 238 4th Avenue, Anchorage,
Alaska.
LABORATORY 4 SOUND
LABORATORY Services 16mm-35mm. Developing, Print¬
ing & Reduction. Reasonable. Quality guaranteed.
NATIONAL FILM PRODUCTIONS, 955 Diana Ave.,
Akron, Ohio.
LABORATORY 4 SOUND
ROCKY MOUNTAIN 16MM HEADQUARTERS
Processing — Printing — Recording
Editing — Production — Rental — Sales
DuPont, Eastman and Fastax films in stock.
Write for Price List.
WESTERN CINE SERVICE, INC.
114 E. 8th Ave., Denver 3, Colo. TAbor 5-2812
SOUND RECORDING at a reasonable cost. High
Fidelity 16 or 35. Quality guaranteed. Complete
studio and laboratory services. Color printing and
lacquer coating. ESCAR MOTION PICTURE SERVICE,
INC., 7315 Carnegie Avenue, Cleveland 3, Ohio.
Phone Endicott 1-2707.
PRINTING! REASONABLE PRICES! FREE ESTIMATES!
Sebastian 10934-C Hamlin, North Hollywood, Calif.
16mm SOUND and picture editing — sound recording
music— effects. DON DUNN S EL RANCHO AUDIO,
near Palos Verdes and L.A. Harbor. 26246 Fairview
Avenue, Lomita, Calif. DAvenport 6-4925.
Here on this page you'll find
two outstanding opportunities
. . . ] — To buy an item of much
needed equipment at an attrac¬
tive price ,
. . . 2 — Opportunity to dispose
of items you no longer need; to
sell your services „• or to make
known your needs in our “want¬
ed’' columns.
Classified advertising rates
are surprisingly low.
Just 1 0c a word when your
ad is set like this:
AURICON Pro CM71 and EIF View Finder,
cases and related equipment barely used.
Or 1 5c per word when text
is set in all capitals , like this:
PRODUCTION EQUIPMENT, LABORATORY
EQUIPMENT, EDITING EQUIPMENT, 16mm.
Or 90c per line when text is
set in boldface, like this: (Note:
This style is limited to headline
and signature lines only.)
1 YEAR OLD 4 STILL GOING
HOLLYWOOD’S NEWEST STORE
Send ad copy accompanied by
remittance to cover payment to
American Cinematographer ,
1782 No. Orange Drive, Holly¬
wood 28, Calif. Closing date for
copy is 1 5th of month preceding
issue date.
FILMING A PRIZE-WINNER
( Continued from Page 556 )
had many hours of work ahead of them.
One month of spare time was spent in
the five editings of the film.
“Many times Harry would remove
only two or three frames from a scene,’
Mrs. Ruffner said. “We had to make
certain that the movement of a hand,
for example, would run smoothly from
shot to shot."’
Mrs. Osenda hand lettered the titles
for the picture on a long strip of black
paper. Ruffner then shot these twice at
different exposures on the scroll attach¬
ment of his homemade titler. He re¬
wound the film and shot backgrounds
of a moving train on the same film at
Gold Run in the Sierra Neveda moun¬
tains. Of the two titles that Ruffner
made, the second proved to be most
satisfactory.
While the edited film was being pre¬
pared at a laboratory for magnetic
sound recording, Ruffner selected back¬
ground music and wrote three short bits
of narration. The background music
was recorded on his own recorder and
the sound from the tape was fed into his
magnetic sound projector as the narra¬
tion was being read. Sal Pizzo, a San
Francisco resident experienced in ama¬
teur theatricals, was narrator.
The Ruffners, members of the West-
wood Camera Club of San Francisco,
shot their film on single-perforated Type
A Kodachrome with a Cine Kodak-
Special. Daylight conversion filters were
used for the outdoor work. Lenses used
were a 15mm f/2.7, a 13mm f/1.5 and a
25mm f/1.9.
Among the other 16mm color films
which the Ruffners have made is “Cata¬
lina Holiday.” This picture has re¬
ceived much favorable comment, but has
not been entered in amateur competi¬
tions because it is longer than most con¬
test rules allow.
Filming Fiesta
Sponsored by the Northern California
Council of Amateur Movie Clubs, a
“Filming For Fun Fiesta,'' will be held
at the Fairmont Hotel, San Francisco,
Saturday and Sunday, October 22 and
23, 1955.
Open to the public as well as to all
amateur movie makers, the program in¬
cludes talks and discussions on such top¬
ics as film processing, sound on tape»
animation, door script shooting and film
editing.
A banquet will be held Saturday eve¬
ning at which time there will be a
screening of National prize-winning
films.
558
American Cinematographer
September, 1955
• m
to put
mood
on film
Clark Gable and Jane Russell in “ The Tall Men," 20th Century-Fox CinemaScope production,
filmed with B&L 40mm Baltar CinemaScope Lenses — combined cine-anamorphic lens, single
focusing adjustment.
ORDER from your profes¬
sional camera manufacturer, or
WRITE to Bausch & Lomb
Optical Co., 30045 Martin St.,
Rochester 2, N. Y.
It’s the skill of the master
cinematographer that makes filmed sequences
tingle with life. And it’s experience, too —
he insists on the world’s finest lenses to give
him exactly the effects he wants.
Academy Honorary Award for optical service to the industry
A. M. P
For balanced
color... use byron
color-correct*
prints
script
art
titling
animation
Byron color-correct* prints give you color that is
never too light — never too dark — color that is always
right! Such perfection is a regular service at Byron
— hacked by efficient personnel, precision
equipment, operating in a plant designed for peak
performance. Byron quality, Byron service costs
no more, and is available in 8 hours if necessary.
Write, wire, or call today for an
early start on your job!
editing
sound effects
. . . and for balanced service
byron offers you these 16mm
production facilities:
-recording
-location photography
-music library
-sound stage
complete black and white
laboratory facilities
-precision magnetic striping
byron
Studios and Laboratory
1 226 Wisconsin Avenue, N.W., Washington 7, D.C. DUpont 7-1800
*Reg. U. S. Patent Office
SEND FOR YOUR COMPLIMENTARY COPY OF THE 3 ILLUSTRATED BULLETINS ON “PRF-PRINT PRFP
ARATION” AS DEVELOPED AND RECOMMENDED BY THE ASSOCIATION OF CINEMA LABORATORIES
OCTOBER • IKS
in m **#} ■
The Superscope Process
• CinemaScope on 55mm Film
• Jackie Gleason Goes “Live on Film’
.
25c
FOREIGN 35c
mm
mz&Km
MM
• ••••••••••••••••a*** « * V
w.v.v.v.v.v.v.v.v.v*.*.
AV.V.V.V.V.V.V.V.V.V.*.
v.v.v
• ••••••••••••••••••*•••
EITHER WAY, YOU PAY
NO MORE FOR THE WORLD’S
FINEST LIGHTING AND
PRODUCTION EQUIPMENT
ills
V.
.v.v.v.
• * • * »
* •
*•*
Lamps, Cable,
Switchboards, Dimmers,
Portable Generators
Stands, Hangers, and
Accessories A
New “Dual Steering” 1
Crab Camera \
Dolly for Television and /
Motion Picture Studios
SALES • SERVICE • RENTALS
THE WORLD'S MOST COMPLETE ASSORTMENT
OF PHOTOGRAPHIC EQUIPMENT FOR
T \l. atuL M&ttwt Vidm Si udm
PACKAGED LIGHTING WITH
COLOR-TRAN
studio lighting in a suitcase
Imagine being able to use two 5000 wi
on a 30 amp. fuse — COLOR-TRAN will
Kit contains 2 light heads, 2 Superior sta
proper size COLOR-TRAN converter to
Packed in compact case.
Write for COLOR-TRAN Catalogue.
Other style
kits available
ELECTRIC
FOOTAGE TIMER
STOP MOTION MOTOR
FOR CINE KODAK SPECIAL
Dual model for both 16mm
and 35mm. Large white num¬
erals on black background. Accu¬
rate reset dial. Switch controlled
by operator, who selects either
16mm operating at 36 feet per
minute — or 35mm operating at
90 feet per minute ... or both
in synchronization. $95
Runs forward or reverse, 110
AC synchronous motor with frame
counter. May be run continuously
or for single frames. Camera
mounts without special tools.
Also available — Stop Motion
Motors for 16mm — 35mm B & H,
Mitchell and other professional
cameras.
Single model, either 16mm or
35mm
New PROFESSIONAL JUNIOR
Adjustable wood BABY TRIPOD
for
Prof
nd
friction
geared heads
Model R-2 for 35mm silent and sound
film. Precision construction makes it easy
to get a clean, square splice with accur¬
ate hole spacing. Nothing to get out of
order. $65
Also Bell & Howell 8mm, 16mm and
35mm Hot Splicers and B & H Labora¬
tory model Foot Splicer.
presto - splicer
GIVES PERMANENT SPLICE
IN 10 SECONDS!
GRISWOLD
HOT FILM SPLICER
FAMOUS
controlled
action'
SMALL GYRO
TRIPOD
Has substantial shoe and spur.
Measures from floor to flange
25" extended — 17"
col lapsed.
Two speeds — slow and fast
— for both panning and tilting.
Helps you capture fine scenic views
and fast-moving sports events. Espe¬
cially recommended for 16mm Mitchell,
16mm Maurer, B & H Eyemo
and similar cameras. $600
Especially good for splicing magnetic
film. Butt Weld type for non-perforated
or perforated film. 16mm, 35mm or
70mm. $54780
16mm or 35mm models —
for perforated film.
*9. 5mm Lenses in 16mm C mount. 18.5mm (extreme wide angle-flat field)
Lenses available in mounts for all 35mm Motion Picture Cameras.
* PHOTO RESEARCH Color Temperature Meters. ‘Electric Footage Timers
‘Neumade and Hollywood Film Company cutting room equipment.
‘Griswold & B.&H. Hot Splicers. ‘DOLLIES — Bardwell-McAlister, Mole
Richardson, Century and Colortran Lighting Equipment.
Complete line of 16mm and 35mm Cameras
hluM 'liHyl
. . . our
sincere
gratitude
and
appreciation
CONSOLIDATED ■■ f-
FILM \iZ
INDUSTRIES
959 Seward St., Hollywood 38, Calif.
1740 Broadway, New York 19, N. Y.
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
PUBLICATION OF THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
Arthur E. Gavin, Editor
Marion Hutchins, Editorial Assistant Emery Huse, Technical Editor
Editorial Advisory Board: John Arnold, Arthur Edeson, Lee Garmes, Charles
Rosher, Leon Shamroy, Fred Gage, Glenn R. Kershner
Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Calif.
Telephone: Hollywood 7-2135
VOL. 36 OCTOBER • 1955 NO. 10
In This Issue
ARTICLES
CinemaScope on 55mm Film — By Arthur E. Gavin . 582
Gleason Goes “Live on Film” — By Leigh Allen . 584
Preparation of 16mm Printing Leaders . 586
Animation Major Factor in Production of TV Ad Films —
By Vern W. Palen - - - 588
The Superscope Process— By Wilfrid Cline . A.S.C. . 591
Filming for Philco — By Roy Zeper . 592
Filming the Birth of a New Automobile — By Al Vaughan - - - 595
AMATEUR CINEMATOGRAPHY
Time Lapse Transitions — By Harold Benson . 596
The Case for Hand-Lettered Titles — By John Forbes - - - 597
FEATURES
What’s New in Equipment, Accessories, Service . 568
Industry News . 572
Hollywood Bulletin Board . 574
Hollywood Studio Production - 614
ON THE COVER
TO CHARLES G. CLARKE, A.S.C. (in checkered shirt, hat and sun¬
glasses) fell the honor of being first director of photography to shoot a
feature picture with 20th Century-Fox’s new 4X-55mm camera. Scene is
Boothbay Harbor, Maine, where initial scenes of T.C.F.’s “Carousel”
are being filmed. Sol Halprin, A.S.C., one of the camera's developers, is
at far right. Article describing camera appears in this issue, beginning
on page 582.
AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S.
C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. Entered as second class matter
Nov. 18, 1937, at the postoffice at Los Angeles, Calif., under act of March 3, 1879. SUB¬
SCRIPTIONS: United States and Canada, $3.00 per year; Foreign, including Pan-American
Union, $4.00 per year. Single copies, 25 cents; back numbers, 30 cents; foreign single
copies, 35 cents; back numbers, 40 cents. Advertising rates on application. Copyright 1955
by A. S. C. Agency, Inc.
For over 25 years, Mitchell Cameras have set profes¬
sional photographic standards for the Motion Picture
Industry. These flawlessly designed, ruggedly con¬
structed cameras have proven themselves in smooth,
positive operation under the most exacting condi¬
tions. Today, as yesterday, the World’s greatest films
depend upon Mitchell — professional equipment for
truly professional results.
16mm PROFESSIONAL
35mm BNC MODEL
The Mitchell 35mm Camera — standard equipment of major studios
—is internationally known for dependability and performance. For
superb photography, Mitchell 35's are available in BNC (blimp '
unnecessary); NC and Hi-Speed models to meet every requirement.
onal has the same proven Mitchell 35mm
35mm quality to 16mm screens. Equipp'd
I blimp, this camera is a favorite of lead-
iducers for sound photography.
# M
mm
CORPORATION
■ ‘ J ft P{\
m v4:.- ■
666 West Harvard Street • Glendale 4, Calif. • Cable Address: "MITCAMCO
85% of the professional motion pictures shown throughout the world are filmed with a Mitchell
:
r
inomsHC
SYNCHRONOUS
< |0g> MGXr~+U*' MIM »[CO»Ot»
Producers !
Bring dubbing costs DOWN and
CONTROL sound quality
with Magnasync \-400 Type 13 dubbers
As significant as the tremendous savings made possible by Magnasync
magnetic film recording is the degree of quality control which it affords the
exacting producer. In mixing, dubbing and transfer work the Magnasync
X-400 permits you a degree of perfection which you can achieve consistently
by doing the work yourself.
SOUND EFFECTS edited to fit the script
with blank leader stock between split-
second synchronized effects. (Loop rack
attachment available).
MUSIC TRACK scored to packaged pic¬
ture. Music can be rescored without
affecting other portions of the master
track.
DIALOGUE TRACK recorded on location
in “Lip-Sync” or narrated to fit picture.
PLUG-IN PREAMPLIFIERS mounted on
rack panel cradle. Power switch, Fuse
and Pilot light on front of panel. Zero
level, 600 ohm, balanced line output.
INDIVIDUAL DRIVE MOTORS with positive gear
interlock assure absolute “sync" from dead start.
Separate synchronous drive motors operate each
dubber is independently to assure optimum motion
stability.
Seid for complete specifications, prices and delivery schedule.
THEATRE
NEW YORK — Camera Equipment Co., 1600 Broadway, New York
19. JUdson 6-1420. Cable Address CINEOUIP.
CHICAGO — Zenith Cinema Service, Inc., 3252 Foster Ave.,
Chicago 25, III. IRving 8-2104.
AMERICA'S LEADING MANUFACTURER DF MAGNETIC FILM RECORDING AND REPRODUCING DEVICES
J
PORTABLE
FILM RECORDERS
•fell SSL
QUALITY AMPLIFIERS far
MAGNETIC RECORDING and REPRODUCTION
SAN FRANCISCO — Brooks Camera Co., 45 Kearney St., San
Francisco, Calif. EXbrook 2-7348.
CANADA— Alex L. Clark, Ltd., 3745 Bloor St., Toronto 18,
Ontario. BEImont 1-3303.
Sr -
MICROPHONE MIXERS
EQUIPMENT
STUDIO DUBBERS
and RECORDERS
3-CHANNEL
REPRODUCERS
MULTI-CHANNEL
INTERLOCKED DUBBERS
MAGNASYNC MANUFACTURING CO., LTD. • 5521 SATSUMA AVE., NORTH HOLLYWOOD, CALIF. • POplar 6-T692
without tools.
mm
art is
Capital skills
are your tools
for finer films
L
PRINTS BY CAPITAL
m
-
CAPITAL
FILM LABORATORIES, INC
1905 Fairview Ave., N.E., Washington 2, D.C
Telephone Lawrence 6-4634
Capital Film Laboratories
offers to the creative producer
the finest motion picture laboratory equipment
plus the priceless ingredient . . .
the personal attention
of our select staff of skilled craftsmen.
Editing
Processing
Printing
RCA Sound Recording
Service Studios
7
New 35 mm Model 2A
With 180° Shutter
A TRULY
CAMERA
for TV, Newsreel
and commercial
films
For tough and trying assign¬
ments, ARRIFLEX 35 is in a
class by itself. Reflex focusing
through photographing lens
while camera is operating —
this is just one outstanding
ARRIFLEX feature.
Equipped with bright, right-
side-up image finder, 6V2 x
magnification. Solves all par¬
allax problems. 3 lens turret.
Variable speed motor built
into handle operates from
lightweight battery. Tachom¬
eter registering from 0 to 50
frames per second. Compact,
lightweight for either tripod
or hand-held filming. Takes
200' or 400' magazine. Write
for free folder.
Blimp now available.
16mm ARRIFLEX also available.
wiiivrs n
... in equipment, accessories, service
Auto-Collimator
Benjamin Berg Company, 1410 No.
Van Ness Avenue, Hollywood 28, Calif.,
is U. S. distributor of the Taylor-Hob-
son Camera Focus Auto-Collimator. De¬
vice enables the camera operator to
carry, as an entirely self-contained and
self-checking unit, an instrument to set
the camera lens in a focus at infinity.
Thus any cameraman can check, instant¬
ly, the accuracy of the infinity scaling
of any lens in use, right on the camera,
without the need of shooting test films.
Net price is $375, F.O.B. Hollywood.
Bridgamatic machines, write the manu¬
facturer direct. Prices start at $1095.00.
Fast Film Filter
Eastman Kodak Company, Rochester,
N. Y., has introduced a new neutral
density filter which minimizes or re¬
duces amount of light reaching the film
when high-speed films such as Tri-X
are used. The light reduction is equiva¬
lent to three lens stops.
New filter will be known as the
Kodak ND-3 and will he available in
three Series sizes for use with Kodak
Combination Lens Attachments.
All-purpose Processor
S.O.S. Cinema Supply Corp., 602
West 52nd St., N. Y., announces a new
all-purpose automatic film developing
and reversal processing machine. Trade-
named the Bridgamatic, Jr., Type RA,
it takes the new pre-hardened emulsions,
including Eastman Tri-X reversal.
Unit features a variable speed con¬
trol allowing changes in developing
time from ll/2 to 12 minutes, and will
process at the rate of 1200 ft. per hour
at normal temperature, according to the
manufacturer.
A time payment plan is being offered
with trade-ins of professional equipment
accepted as down payments. For com¬
plete information on the 14 varieties of
Optical-Magnetic Reader
Pictured above is Precision Labora¬
tories’ Model 800, Series RL, precision
Optical-Magnetic Sound Reader, de¬
signed for editing either variable area
or density optical tracks or 16mm,
35mm or l/^-inch magnetic tracks.
Sound is “read" by placing film with
sound track on reader with track facing
operator. Self-contained is a 4-watt high-
gain amplifier, which operates the 117-
V, 60 cycle AC heavy duty Alnico-V
speaker.
More complete details may be had by
writing the manufacturer at 1139 Utica
Ave., Brooklyn 3, N. Y.
Automatic Rewind
0 Dell Industries, Inc., 3975 Lake
Michigan Drive, Grand Rapids, Mich.
(Continued on Page 570)
American Cinematographer
October, 1955
/
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1
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s
ARRI ARRI
16 TRIPOD 16 SHORTY
WEIGHT . 13V2 lbs. 8V2 lbs.
less head
WORKING HEIGHT
Maximum . 65 inches 21 inches
Minimum . 15 inches 9 inches
CLOSED . . 42 inches 22V2 inches
PRICE . . . $175.00 $90.00
complete less head
NOTE: Prices, Weights and Measurements in¬
clude Head, except where otherwise stated,
and are subject to change.
FOR LOW ANGLE
SHOOTING . . .
ARRI 16
SHORTY
Supplied less head.
Uses Hemispherical
Ball-Joint Head
i nterchangeably
with Arri 16 Tripod.
• DUAL SPURS — double, hardened steel tips assure
firm, sure footing.
• CONSTRUCTION — legs made of seasoned beech for
extra strength and sturdiness. Metal parts are made of
brass, steel and aluminum — exposed surfaces finished in
black crinkle and chrome. Camera platform is leather-
covered.
KLING PHOTO CORF,
235 Fourth Ave., New York 3, N. Y.
7303 Melrose Ave., Hollywood 46, Cal.
The Hemispherical
Ball-Joint Head
AN EXCLUSIVE FEATURE OF THE NEW
1 16 TRIP i)ll
Here's the kind of tripod
you'd expect from the maker
of the famous Arriflex cameras
— a tripod with the most ad¬
vanced features in the field.
One outstanding Arri-exclusive
is the Hemispherical Ball-Joint
Head. No matter how uneven
the ground or how tilted the
tripod — this head permits you
to level your camera without
touching the tripod legs. And
a built-in spirit level tells you
when you're 'set'.
..S:t , ■
■Hi
THE
ARRI 16 TRIPOD
Also gives you these important features:
• HEMISPHERICAL BALL-JOINT HEAD - precision-
machined ball-and-socket (4'/2" diam.) perfectly mated
for easy adjustment and secure locking action.
• PAN and TILT LOCKS — each controlled independently.
• ADJUSTABLE PAN HANDLE — conveniently located for
optimum leverage — can be held under armpit leaving
hands free to manipulate lenses and camera.
• SMOOTH PAN and TILT MOVEMENTS - achieved
through precise machining of all metal parts.
• SPIRIT LEVEL — for lining up camera.
• PATENTED TRIPOD SCREW - fits both foreign and
American tripod sockets. Outside thread section is for
foreign cameras. When used with American cameras,
it retracts, and inner "American thread" engages
camera.
• SINGLE LOCK COLLAR — securely locks each leg at
desired extension end automatically eqaulizes locking
pressure on both shanks.
• CALIBRATED LEG SCALES — permit quick and easy
setting of all legs to same extension.
• ADJUSTABLE ANTI-SLIP CHAINS - restrict leg spread
and prevent tripod from falling.
• TIE-DOWN EYELETS — for securing tripod to floor.
• TIE-DOWN LIPS — for attaching to dolly or clamps.
is our business
'pSuA'
personalized
service
ROUND-THE-CLOCK SERVICES
Negative Developing
•
First Print Department
Ultra Violet and
Flash Patch Printing
•
16mm and 35mm
Release Printing
•
Kodachrome Printing
63 Editing Rooms
SPECIAL TV SERVICES
For Color it's
. yV^
iy ■'*.«>,
V
*V \
Now
Celebrating
Our 25th
Anniversary
MOVIELAB FILM LABORATORIES, INC.
619 West 54th Street, New York 19, N. Y. JUdson 6-0360
WHAT’S NEW
( Continued from Page 568)
offer the O’Dell-O-Matic automatic re¬
wind unit for 8mm and 16mm movie
projectors. Device completely eliminates
the nuisance of rewinding movie film
after each screening. It rewinds the film
automatically as it is being projected.
List price is Si 9.95.
4-Lamp Light Bar
Eastman Kodak Company, Rochester,
N. Y., introduced last month a new 4-
lamp light bar for motion picture pho¬
tography. The unit is recommended for
use by movie amateurs as well as TV,
industrial and educational film makers,
since it provides far greater effective
light coverage than has heretofore been
provided by 2-lamp light bars.
The four lamps will give sufficient
light for shooting motion pictures with
Kodachrome film at distances up to 18
feet, using a stop of f/1.9.
Two switches incorporated in the bar
permit using only two of the four lamps
when making closeups.
Unit, which is tradenamed the
Brownie 4-Lamp Movie Light, is readily
usable with most movie cameras, 8mm
or 16mm, that are equipped with a
standard tripod socket. List price is
$8.45.
Tripod Triangle
Cinekad Engineering Co., 500 West
52nd St., New York, announces a new
type triangle for tripods, which features
“deep-hole” leg nests, and special lock¬
ing devices that secure legs to triangle.
Salient feature is the mobility offered
by three 3-inch heavy-duty rubber-tired
swivel casters, each equipped with a
locking device. Triangle folds readily
and weighs but 7 lbs. Literature is avail¬
able.
(Continued on Page 616 )
570
American Cinematographer
October, 1955
Announcing
"Auricon Pro-600"
with Critical Ground-Glass Focussing,
available on 3-Lens Turret Model.
"Auricon Pro-600"
with Single-Lens ”C" Mount,
Tele-Finder Objective, plus
Standard Auricon Finder.
THE ALL NEW
“AURICON PR0-600”
for 16mm optical
sound-on-film
Auricon
A PRODUCT OF
BERNDT-BACH, INC.
6902 Romaine Street, Hollywood 38, California
* MANUFACTURERS OF SOUND-ON-FILM
>v, RECORDING EQUIPMENT SINCE 1931
Holly-'
% mmm § i
& ... w&m
mm
ISillll
i : mmm
$4652.15
$3359.00
-
"Auricon Pro-600"
Turret Model with
"Zoom" type Lens
and Finder in use.
_ ryluwtffcL-j-,
Li-i -
Self-blimped for completely quiet studio operation. The whisper-quiet film flow
of The "Auricon Pro-600" is silent proof of precision design. Your sound-recording
microphone never picks up "Pro-600" Camera noise!
600 ft. film Magazines with Auricon-Electromatic Take-up,
for 16 minutes of continuous "Talking-Picture" filming.
^ Synchronous Motor Drive for "Single-System" or
"Double-System" Recording.
$1,497.00 list. . .for Auricon Pro-600 "Double-System"
professional picture-camera with built-in features.
Also available at added cost is "Single-System"
equipment for Optical Sound-Track-On-Film, "C-mount"
Lenses, View-Finders, Film Magazines, 3-Lens Turret,
Critical Ground-Glass Focusing, Lens Sun-Shades,
Tele-Finders, etc. . .
^ Sold with 30 day money-back guarantee, you must
be satisfied!
Write for free illustrated "Auricon Pro-600" literature
and price schedule.
"Auricon Pro-600"
features Push-Button "On-Off,'
with safety-interlocked
film-flow mechanism.
ONE CAMERA
16mm or 35mm
in 10 SECONDS!
Camerette<*/35
Reflex Motion Picture Camera
The perfect camera for the motion picture film
maker working in both 16mm or 35mm color
•r black and white.
IOOK AT THESE ADVANTAGES —
• The same lenses, same motor drives, same
sound blimp and accessory equipment used
for both 1 6mm or 35mm — to convert simply
change the magazine.
• Precise rugged movement
• Reflex viewing
• 200 degree adjustable shutter
• Divergent three lens turret
• Automatic film gate 400' magazines 16 or
35mm — the 16mm magazine will accom¬
modate daylight spools as well as standard
core load.
• Light weight — only 14 pounds with 3
lenses, 400' magazine, and 6/8 volt motor.
Write for brochure
LlJamerette
patents coutant-mathot
Manufactured by Ets. Cine. Eclair, Paris
C. ZUCKER
(Tflm€Rfl€ouiPm€nT(o.
's— 1 * 1600 8R0S0UJRS \ n€U dOPK City
Players, directors and cameramen, still
living, who made distinctive contribu¬
tions to the Amer¬
ican Cinema within
the memorable
“silent” era from
1915 to 1925 are to
be honored in cere¬
monies planned for
November 19th in
Rochester, New
York.
Jack Rose
The event. The
George Eastman
House Festival of Film Artists, is an
undertaking of the
George
Eastman
House memorial. One of the industry’s
most notable figures, Jesse F. Lasky, is
serving as the chairman. Serving on his
committee as representative of industry
cameramen is Jackson J. Rose, A.S.C.
Rose, veteran Hollywood cinematogra¬
pher, is ideally suited to the task in
view of his early-day Hollywood exper¬
iences and his vast library of memor-
ablia on the industry and its personnel.
It has been Rose’s task in recent
weeks to research existing records and
compile a list of the outstanding camera¬
men of the 1915-1925 era. Aiding him
also is the fact that he is personally
acquainted with most of the cameramen
who have served Hollywood studios for
more than four decades.
Similar research and evaluation is
being done by committeemen represent¬
ing actors, actresses, and directors.
The twenty artists to be honored will
be chosen by ballots which will be
mailed to the known cameramen, play¬
ers and directors whose names are sub¬
mitted to Eastman House by the com¬
mittee.
In addition to Jesse Easky and Jack-
son Rose, others aiding in the project
are screen producer Carey V ilson, serv¬
ing as Vice Chairman and representing
the Screen Producer’s Guild; Jack Mul-
hall, for the Screen Actor’s Guild; and
Frank Borzage, the Screen Director s
Guild.
Aiding the Eastman House Staff,
under the direction of General O. N.
Solbert, will be Richard Griffith of
Museum of Modern Art ; W. Ward
Marsh, film critic of the Cleveland Plain
Dealer, and James Card, Curator of
Motion Pictures at Eastman House.
• • •
Cinepanoramic, French anamorphic
lens described in American Cinema¬
tographer for September, 1953, is being
used by Republic Studio in the produc¬
tion of wide-screen pictures of the Cin-
emaScope type.
Films shot with the Cinepanoramic
lens can be projected through Panavi-
sion, CinemaScope, Superscope or other
anamorphic projection lenses.
The Cinepanoramic lens is an “attach¬
ment” type anamorphic lens, being
mounted before the regular camera lens
in photography.
Republic’s first Cinepanoramic feature
will be “The Maverick Queen,” starring
Barry Sullivan, Scott Brady and Bar¬
bara Stanwyck. Jack Marta is doing the
photography.
© © •
A new industry award for outstanding
technical contributions to color motion
pictures was announced by Dr. John G.
Frayne, President of the SMPTE at the
Awards Session of the Society’s conven¬
tion in Fake Placid early this month.
It was announced that the new award,
to be called the Dr. Herbert T. Kalmus
Gold Medal Award, would be presented
first in 1956.
It is the opinion of the SMPTE that
color has achieved a position of such
prominence and stature in the tech¬
nology of motion pictures that major
contributors to its scientific progress
should be recognized and honored.
• • •
Du Pont’s “paper-thin” motion picture
film base, “Cronar,” came a step nearer
reality last month with the start of pro¬
duction of the polyester film base at Du
Pont’s new plant at Parlin, New Jersey.
Start-up of the plant comes after eight
years of research and development cost¬
ing more than $6 million and after
approximately two years of construction.
After several weeks of run-in oper¬
ation, the plant will begin continuous
production of Cronar film base, to be
coated first with DuPont graphic arts
photographic emulsions.
Motion picture products have next
priority, and it is likely that most other
Du Pont photographic film products will
be converted to the thin-but-tough poly¬
ester base as production capacity per¬
mits.
Cronar, produced from a pilot plant
during the past three years, has shown
considerably better durability and di¬
mensional stability than any other film
base, say Du Mont engineers.
572
American Cinematographer
October, 1955
CAMERETTE
Now Available with Two
Important New Features!
★ Adapted for CinemaScope
★ Sound Blimp with Reflex Viewing
Now for the first time — a lightweight camera for CinemaScope photography — the
35mm Camerette with CinemaScope aperture, with full CinemaScope field visible
through the reflex viewer. Auxiliary turret and matte for regular photography.
New magnesium alloy blimp with viewing through the taking lens at all times through
the Camerette’s reflex finder, making a lightweight, fully blimped combination 16mm
or 35mm camera. Synchronous motors— 11 0-v single phase, 220-v three phase.
ONLY THE CAMERETTE HAS
Write for descriptive literature
BENJAMIN BERG COMPANY
1410 N. VAN NESS AVE. • HOLLYWOOD 28, CALIF. • Hollywood 9-8023
Ability to use both 16mm and 35mm
film in one camera.
Reflex viewing through the taking
lens at all times for both film sizes.
Sound blimp with reflex viewing,
making a fully blimped. instantly
1 6mm or 35mm
interchangeable
camera.
Patents Coutanf-Mathot
Manufactured by Eclair, Paris
HARRY HALLENBERGER (left), for 28 years a member of the American Society of Cinema¬
tographers, receives the Society's 25-Year Gold Membership Card from A.S.C. President
Arthur C. Miller at the Society’s September monthly meeting, at which time more than
forty A.S.C. members were so honored. At right, calling off the 25-year membership roster
is Walter Strenge.
AMERICAN SOCIETY
OF
CINEMATOGRAPHERS
HOLLYWOOD. CALIFORNIA
2 5
YEARS
H. F. KOENEKAMP
DIRECTOR OF PHOTOGRAPHY
Arthur Miller Walter Strence
REPRODUCTION of 25-Year Gold Mem¬
bership Card presented to some forty
members of the A.S.C. in ceremonies at
the Society’s September dinner-meeting.
Forty-three members of the American
Society of Cinematographers with rec¬
ords of membership in the Society for
25 years or more were honored with
gold membership cards at the Society’s
September meeting in Hollywood. Pay¬
ing tribute to the Gold Card members
was a record turn-out of 110 members
and guests.
Only those members whose 25 years
of affiliation with the Society have been
continuous were so honored. Among the
43 were three Charter Members — Ar¬
thur Edeson. Victor Milner, and Charles
Rosher.
Others presented with Gold Cards
were: David Abel, John Arnold. John
Boyle, Dan Clark, Charles G. Clarke,
Faxon Dean. Ed Du Par.
Elmer Dver, George Folsey, Alfred
Gilks, Ernest Haller, Harry Hallenberg-
er, Fred Jackman, G. Floyd Jackman,
Ray June, Glenn Kershner, H. F. Koene-
kamp. Charles Lang, Arthur C. Miller,
Hal Mohr, Ira Morgan, Ernest Palmer.
Sol Polito, Harry Perry, Paul Perry,
Len Roos, Jackson Rose, George Schnei-
derman, John Seitz, Henry Sharp, Doug¬
las Shearer, Edward Snyder, Mack
Stengler, Karl Struss, James Van Trees.
Joseph Walker, Gilbert Warrenton, Frank
Zucker, Charles Herbert, and Charles
Bell.
Terms of membership for Gold Card
members range from 25 to 36 years
with Edeson, Milner and Rosher ex¬
clusively in the 36-year bracket.
The Society, now in its thirty-sixth
year, was founded in Hollywood on
January 8, 1919 by Arthur Edeson,
Victor Milner, Charles Rosher, Philip
Rosen, Homer Scott. William C. Foster,
L. D. Clawson, Eugene Gaudio. Walter
Griffin, Roy Klaffki, Joseph August, Fred
Granville, J. D. Jennings, Robert New-
hard and Guy Wilky.
Within a year, most Hollywood cam¬
eramen had joined the A.S.C. and as
new cameramen developed in the then
booming film colony, they, too, affiliated
with the Society, which already had
won industry-wide recognition for its
noteworthy aim to “Advance the art of
motion picture photography.”
RAY JUNE (left), who also received a
25-Year Gold Membership Card, looks
over copies of the Society’s “1930 Cine¬
matographic Annual” and reminisces on
the “good old days” of Hollywood pic¬
ture making with A.S.C. Associate Sid
Solow. Latter is V-president and General
Manager of Consolidated Film Industries’
Hollywood Lab.
The A.S.C. last month elected to Active
membership Ed Hyland, and Zoli Vidor,
New York directors of photography.
Hyland is presently a free-lance cam¬
eraman with a record of more than
thirty years in the motion picture in¬
dustry. His career began at the old
Paramount Studio in Long Island City
(Continued, on Page 576)
WILLIAM SNYDER, A.S.C. (right) last month was
presented with a scroll from Nat’l Society of
Magazine Photographers for “outstanding excel¬
lence of his photography of the Grainger-R.K.O.
production, “The Treasure of Pancho Villa.”
Making presentation was NSMP West Coast
Chairman Fred Swartz.
574
American Cinematographer
October, 1955
need location
?
lighting. ..fast?
Call on Jack Frost , one of the
nation's largest suppliers of
temporary lighting facilities .
Wherever you are, whatever your
lighting needs, you can depend on
Jack Frost’s expert handling and com¬
plete range of equipment, from a
100 watt inkie to 225 amp arc with
mobile power plants. In the studio
too, we can supplement your present
equipment to meet any situation, any¬
where. We’ve been doing it for years
for many of the top shows.
Our service includes complete installa¬
tion and removal at one low cost.
free estimates
Write or wire for a free estimate and
a Free Catalog of Equipment.
JACK A. FROST
Dept. AMCI
234 Piquette Ave., Detroit 2, Michigan
425 Burnamthorpe Road, Toronto 18, Ontario
BATTERTON
THE
WORLD'S
LARGEST
INVENTORY
OF
MOTION
§||gl
PICTURE
EQUIPMENT
gordon enterprises
5362 N. CAHUENGA BLVD.
N. HOLLYWOOD, CALIF.
ILL
HOLLYWOOD BULLETIN BOARD
( Continued from Page 574 )
“FIRST TIME” visitors at the A.S.C. last
month were Robert Sable, A.S.C. (left) of
Chicago and Dick Hertel (right) of the
Kling Studios, Chicago, shown here with
former A.S.C. president Arthur Edeson.
in 1925 where Hyland started as an
assistant cameraman. His most memor¬
able assignment was for the U. S. State
Department which sent him to Egypt in
1951. More recently he has been di¬
recting the photography of TV films
produced in New York.
Hungarian-born Zoli Vidor is also a
free-lance cameraman with more than
24 years in the industry. After leaving
engineering college in Vienna in 1931,
he entered the motion picture field
where he soon became a cameraman.
Subsequently he came to the United
States and in 1944 was engaged by
George Pal to photograph his famous
Puppetoones. In 1948 he opened his
own animation laboratory. More recent¬
ly he has been photographing TV and
industrial films.
# • •
The Japanese color film. “Phantom
Horse,” produced by Daiei Motion Pic¬
ture Company, Tokyo, is to be screened
for A.S.C. members at the Society’s
clubhouse in Hollywood the evening of
October 10th.
• • •
Peter Mole, A.S.C., together with Mrs.
Mole will leave for Europe early this
month for an extended visit on the con¬
tinent. Headquarters will be at Cannes.
Mole plans to visit each of the Mole-
Richardson subsidiaries and affiliates as
well as the European studios where he
will study current production trends.
Enroute, Mr. Mole will attend the S.M.
P.T.E. convention at Lake Placid.
• • •
William J. German, last month was
voted an Honorary Member of the
American Society
of Cinematogra¬
phers in recogni¬
tion of his many
services to the
cameramen in the
industry.
German, head
of Wm. J. Ger¬
man, Inc., East¬
man motion pic¬
ture film distrib¬
utors, previously
was an Associate
Wm. J. German
Member of the A.S.C.
Len Roos, A.S.C., last month disposed of
his interests in Kinevox, Inc., and plans
to retire from active participation in
the motion picture industry.
Roos, together with his wife Sylvia,
was sole owner of the business which
developed a light-weight, portable syn¬
chronous magnetic tape recorder which
met with especial popularity in foreign
motion picture production centers. The
( Continued on Page 616)
FOLLOWING the 25-Year card presentation ceremonies at the A.S.C.’s September meeting,
three Associate Members of the Society renew acquaintances. They are Peter Mole (left),
Pres, of Mole-Richardson Co., George Gibson (center) of Wm. J. German Co., and Dr.
Norwood Simmons,, Eastman Kodak Co. Here Mole is probably telling of his forthcoming
trip to Europe this month.
576
American Cinematographer
October, 1955
OCTOBER IS OPEN SEASON TO
BUY • SELL • TRADE
MOTION PICTURE AND TV PRODUCTION EQUIPMENT
< AUIIA . A1AIT
1845 BROADWAY at 60th ST. PHONE: Circle 6-0930
NEW YORK 23, NEW YORK CABLE: CAMERAMART
• CAMART TIGHTWIND ADAPTER
Modern film editors use the Camart Tightwind adapter to rewind 16mm
and 35mm film on cores, prevents scratches and abrasions, winds the
film smooth, tight, and even. Why take chances when you can protect
your valuable film for a very small investment. Send for descriptive
literature. Price: $29.00, money back guarantee.
• NEW WIDE SCREEN VISTASCOPE LENS
Now you can photograph and project 16mm pictures
with a single Vistascope lens and get a picture that
is twice as wide as it is high. Sharp definition for
black and white and color. Only $125.00.
• AURICON PRO 600 CAMERA
Auricon’s latest development in sound-
on-film cameras, now available for im¬
mediate delivery. Also a complete line
of Super-1200 and Cine Voice single
system cameras. Trades accepted.
TIME PAYMENTS ARRANGED.
• BARDWELL-McALISTER LIGHTS
Complete stock of 750 watt to 5000 watt spot¬
lights and accessories available for immediate
delivery. Prices from $81.00 and up.
• SELLING LIKE CRAZY!!!
BEST ON THE MARKET!
CAMART TRIANGLES $29.50
CAMART CAR-TOP CLAMPS $28.00
CAMART SLATE & CLAPSTICK $ 4.75
Patent
Pending
PR0D.N0.
DIRECTOR
CAMERA
SOUND I SCENE
TAKE
DATE
ind rewind
negative rewind
vault cans
swivel base
tightwind
film storage cabinet
at better dealers everywhere
HO 2-3284
956 NO. SEWARD ST.
HOLLYWOOD 38
CALIFORNIA
synchronizer
precision film editing equipment
HOLLYWOOD FILM COMPANY
split reels film racks editing table
NOW! These six laboratories offer fast magnetic
Magna-Striping® for all 16mm films!
Byron Labs
1226 Wisconsin Ave., Washington, D.C.
Colburn Labs
164 N. Wacker Drive, Chicago 6, Illinois
Consolidated Film Industries, Inc.
959 Seward Street, Hollywood 38, California
Animex
Nieuwe Gracht 7, Haarlem, Holland
Sathaporn Cinema Co.
2196 Tung Mahamek, Bangkok, Thailand
Reeves Soundcraft
671 Hope St., Springdale, Conn.
Here’s real striping. Striping that will never soften
and come off because of projection lamp heat.
Magna-Stripe has the original balancing stripe.
And more: Magna-Stripe is the only magnetic
striping used on Cinemascope films produced by
major Hollywood producers. Soundcraft won an
“Oscar” for this process in 1953.
Three sizes of Magna-Stripe are available:
25-mil Magna-Stripe for double-perforated
silent film
50-mil Magna-Stripe for both magnetic and
photographic sound
100-mil Magna-Stripe for all-magnetic
sound track
FOR EVERY SOUND REASON
REEVES SOUNDCRAFT ....
10 East 52nd Street, New York 22, N. Y.
S.fl.S.
'The Department Store of the Motion Picture Industry”
PIIUFMA QIIPPIY PflRP G02 WEST 52nd ST., NEW YORK 19, N.Y.
UlllLlllfl OUT I LI bUIII • PW<.' Plan MHW Coi/e: SOSOUND
s.fs. ~
EST. $1926
The Profitable All-Purpose Film Processor
MEM
BRIDGAMATIC JR. 1 6mm Automatic Reversal Develop¬
ing Machine — Ideal for TV Stations, Photo Finishers,
Industrial or Documentary Producers, Universities, etc.
BRIDGAMATIC JR. REVERSAL assures quality pictures in
minutes — Spot news and sports events can be shown
immediately after they occur. This is the perfect All-
Purpose Processor at a price anyone can afford. Reversal
speed 1 000' per hour— also does negative and positive
film. Light-Tight compartment for daylight operation — has
8 stainless steel tanks — completely automatic "Dry-to-Dry.
MODEL R $1995 — Includes basic Bridgamatic fea¬
tures such as overdrive, nylon bearings, air squeegee,
built-in drybox, blower, heating elements, 400' enclosed
magazine and daylite compartment.
MODEL RA $2495 — Same basic features of Model
R plus continuously variable speed control, 1 200 ft.
enclosed magazine, feed-in and take-up elevators.
v TAKE ADVANTAGE OF S.O.S. TIME-PAYMENT PLAN
Trade-ins Accepted . . . Send List.
TEL-ANIMA tools for Top Tech¬
niques. Greatest dollar for
dollar value in the industry!
TEL-Animaprint
The first sensibly priced Hot Press Title
Machine for high quality, fast lettering.
Prints dry from colored foil for instant use.
Acme pegs give perfect registration on
paper or acetate cells.
TEL-Animastand
A professional Animation Stand with ac¬
curacy guaranteed by Acme Peg Bar reg¬
istration. Includes all basic movements —
does everything the animator needs. Engi¬
neered to meet the most limited budget.
For MOTION PICTURE PRODUCERS, ANIMA¬
TORS, SPECIAL EFFECTS LABORATORIES, TV
STATIONS, ADVERTISING AGENCIES, ETC.
Write for brochure
Manufactured and distributed exclusively by S.O.S.
Moves E-W, N-S.
6'4" high
47" wide
43 'A" deep
PRICED FROM
$1995
TEL-Animaprint
For Perfect Titles.
Prints All Colors.
25" high
14" wide
18 'A" deep
PRICED FROM
TEL -At
PRECISION PRODUCTS
REG. U.S. PAT. OFF
THE ANSWER Id I
BRANCH OFFICE: HOLLYWOOD, CALIF., 6331 Hollywood Blvd., HO 7-9202 — For Other S.O.S. Offerings See Page 599
stancil-hoffman S6 system of magnetic film recording light¬
weight, standard AC or battery operation 16mm or 17.5mm
VERSATILE . . . Whatever the power
source, camera, or utilization, a simple ^
plug-in or interchange of motors is all that’s
ever required to operate the S6 system. Designed
around 24 volt, precisely engineered, Air Force
approved batteries. Accommodate 110 or 220
volts, 1 or 3 phase, 50 or 60 cycle power input.
ECONOMICAL ... At last, a low cost, com¬
pletely integrated, PROFESSIONAL magnetic
film recording system for studio, portable,
or mobile use . . . designed to accommodate
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STANCIL-HOFFMAN CORP.
from microphone to release print
921 N. HIGHLAND AVE., HOLLYWOOD 38, CALIF. TEL. Hollywood 4-7461
representatives:
New York & Eastern Seaboard
Electronics Assoc., Inc.
200 5th Street, Stamford, Conn.
East Central Section
Mr. Michael J. Cudahy
5858 Sheridan Rd., Chicago 40,
West Central Section
W. Cozzens
220 Kedzie St., Evanston, III.
cable address: STANHOFF
S. W. Caldwell, Ltd.
447 Jarvis Street
Toronto 5, Ontario, Canada
S. 0. S. Recording
1545 South Beretania
Honolulu 14, Hawaii
India & Pakistan
Photophone Equipments, Ltd.
9, Marine Lines, Bombay, India
1 i
§ |j|g!|k / % j M
1 Mi
if ' *■ . y df
■ ** . ~ - jSt;
. HI
TAKING A NEW CinemaScope lens and larger negative 55.625mm
in width is Twentieth Century-Fox’s new 4X-55mm camera. Re¬
sponsible for camera’s development is Sol Halprin, A.S.C. (right),
studio’s Executive Director of Photography, Grover Laube (left),
studio engineer, and Earl Sponable, Chief Research Engineer of
T. C. F. studio, not shown.
CINEMASCOPE ON 55MM FILM
Twentieth-Century-Fox studio builds completely new camera that
takes negative 55:625mm in width, and launches a
new era of CinemaScope production.
By ARTHUR
When 20th Century-Fox took the $60,000,000 gamble
on CinemaScope two years ago, it was with the promise
to the industry by Mr. Skouras and Mr. Zanuck that the
studio would spare no expense in further improving the
photography and exhibition of super-wide-screen Cinema¬
Scope motion pictures.
In recent weeks, another significant step has been taken
by the studio, destined to further enhance the quality of
E . GAVIN
CinemaScope productions. This was the development of
the Fox 4X-55mm camera. The “4X"’ symbolizes the four-
times greater information-recording area of the 55mm wide
negative which is used in the camera.
T.C.F’s. first CinemaScope production, “The Robe," was
started when the studio possessed but a single French-made
anamorphic lens. This lens was subsequently improved by
582
American Cinematographer
October. 1955
studio engineers and was known as an anamorphic “attach¬
ment ’ lens, because it was used in conjunction with the
regular camera lens — ie., mounted in front of it.
Last year, Bausch & Lomb Optical Company developed
for the studio a combination CinemaScope lens in which
the anamorphic and the objective lenses are combined in
a single unit. This significant step greatly improved defini¬
tion and depth of field and reduced distortion to a minimum.
The new 4X-55mm camera was designed by Twentieth
Century-Fox engineers and utilizes still an entirely new
type of anamorphic lens designed by the studio’s New York
research department and Bausch & Lomb engineers working
in concert. With the new lens and the wider 55mm negative,
the studio claims it is possible now to achieve greatly im-'
proved wide-screen photography — much clearer and better
defined pictures and a great deal less distortion on the screen.
Specifically, what is achieved by the new camera and
55mm film is (1) a wider negative for use in making 55mm
release prints for roadshow type of theatre presentation, and
(2) by optical reduction of the 55mm negative, a much
higher quality 35mm CinemaScope print. Thus it would
seem that the studio has taken a major step in fulfilling the
promise it made with the advent of its venture into Cinema¬
Scope.
According to Sol Halprin, A.S.C., the studio’s Executive
Director of photography, everything about the new 4X-55mm
system is new — camera, lenses, film, new printers, new
travelling matte printers, and new developing equipment.
In the beginning, blank Eastman Color negative stock
was slit in 55mm widths (actually the fine measurement is
55.625mm), then perforated as required by a machine which
f THE wide-fllm mechanism of the T.C.F. 4X-55mm camera is
v here viewed by Sol Halprin. New cameras yet to be built will
have still greater improvements in the film transport system.
VIEW of right side of camera showing the torque booster motor
which powers takeup on magazine. Note the extra-wide Cinema¬
Scope sunshade in front of camera lens.
the studio constructed especially for the purpose. Today,
of course, the negative stock, properly perforated is being
supplied by Eastman Kodak Company.
The first 4X-55mm camera was rebuilt on the lot of T.C.F.
engineers. Heading up the project were Sol Halprin, Earl
Sponable, and Grover Laube. The present camera is equipped
with 1000-foot film magazines. Subsequent cameras. Halprin
says, will have 2000-foot magazines and many innovations
such as an improved pull-down mechanism, the ultimate in
registration, and extreme fine contact at the aperture. An¬
other aim is for complete noiseless operation, with the goal
a blimp-free camera, same as the well-known Fox camera
universally used on the T.C.F. lot. The new cameras will
be built for Twentieth Century-Fox by a prominent motion
picture equipment manufacturer.
Following exhaustive tests at the studio, the prototype
4X-55mm camera was assigned to Director of Photography
Charles G. Clarke, A.S.C., for shooting the studio’s initial
55mm production, “Carousel. Shooting began on location
in Maine, and the camera is presently exceeding all ex¬
pectations.
As one might expect the studio to properly do in putting
a hitherto untried camera into production for the first time,
the 4X-55mm camera was backed up by a second standard
35mm camera, also shooting in CinemaScope, as a pro¬
tective measure.
It was not until after three weeks location shooting on
"Carousel-’ at Boothbay Harbor, Maine, that studio execu¬
tives saw any of the 55mm camera results on the screen at
the studio. And what they actually saw was a screening of
a 35mm reduction print from the 55mm negative. They
were so enthused with the wonderful quality of this new
medium, Halprin says, that they immediately decided to
discontinue the protective photography by the 35 camera.
“As more of the new cameras and lenses are produced.”
he said, “more Twentieth Century-Fox productions will he
scheduled for shooting in the new 55mm medium. How¬
ever, we shall continue to shoot CinemaScope productions
with our regular 35mm cameras. The advent of the new
(Continued on Page 610)
American Cinematographer
October, 1955
583
.
mm
m
$MM||
THREE PICK-UP units of Du Mont's new “Electronicam” TV-film
system concentrate on Jackie Gleason and Art Carney in a scene
being filmed by the process before a live audience in New York’s
Adelphi theatre. Electronicam combines TV techniques with high-
est-quality 35mm photography, reducing shooting time to a fraction
of old-method requirements.
GLEASON GOES LIVE ON FILM"
First to use the video-film camera in major TV film produc¬
tion is Jackie Gleason who is putting “The Honeymooners”
segment of his weekly TV show on film, using Du Mont’s
new Electronicam system
By L E I G
OF THE three video-film systems de¬
veloped and introduced to date,
the Du Mont Electronicam is the first
and only one to go into practical tele¬
vision film production. “The Honey¬
mooners, most popular feature of Jackie
Gleason’s weekly 60-minute television
show, is the first major TV program to
go before the Electronicam cameras.
The Du Mont Electronicam system, as
reported earlier in the May, 1955, issue
of American Cinematographer , is a new
and completely engineered method of re¬
H ALLEN
cording programs on film through the
use of “live” television techniques. It
differs from “live” television only in that
the permanent recording, for “delayed”
markets and subsequent re-runs, is a
FRONT VIEW of pick-up unit of new Du
Mont 35mm Electronicam TV-film system.
Mitchell film camera is on left, TV camera
at right. Light passing through Mitchell
lens is split into two parts — one to the film,
the other via prism (1) to TV camera.
584
American Cinematocrapher
October, 1Q55
SWITCHING and control panel which permit studio engineers to
edit and develop the “editing master,’’ used with the Electronicam
system, in rapid cutting of the final high quality film. Special effects
such as fades, dissolves, etc., which are electrically created appear
in the “editing master.”
THE GLEASON show footage shot with the three Electronicam
cameras is rapidly edited into a final fnished product for dis¬
tribution by means of the editing equipment shown here. Here the
“editing master” is run through the viewer and the various takes
in the three camera films selected for cutting into the master print.
camera-photographed motion picture — -
either 16mm or 35mm — instead of a
kinescope with its poor quality and ex¬
tremely limited use.
Electronicam differs from the conven¬
tional motion picture filming in that
(a) it permits cameramen and direc¬
tors, by means of normal television view¬
finders on the camera, and by monitors
in the control room, to see what they are
recording on film as each scene is being
shot. No longer do they have to shoot
“blind” and wait till “rushes” are de¬
veloped before they know whether they
got what they wanted, or whether re¬
takes will be needed.
(b) it enables production units —
once they are set up and rehearsed —
to record a complete program in no
more time than it would take to put
that same program on the air live, using
as it does, the same TV personnel and
the same TV techniques with which all
hands — performers and technicians alike
— are familiar. Putting a program on
film so fast, so smoothly is unheard of
in modern film production. But it is this
very identity of method which guaran¬
tees that the filmed program will have
the naturalness, spontaneity and “look"
of a live telecast, Du Mont engineers
point out.
(c) it cuts costs sharply through the
speed-up of both production and editing
processes.
The heart of the Electronicam system
is a new type of camera, tied by ingeni¬
ous adaptation to all the production aids
of a modern television studio.
The camera itself is manned by a tele-
vision-trained cameraman. It is equipped
with an electronic viewfinder through
which the cameraman sees the exact pic¬
ture being filmed just as he would his
REAR VIEW of Electronicam pick-up unit,
showing simple controls available to the
operator. Control handle (2) guides camera
in panning operation. The panel (3) affords
push-button selection of camera lenses.
Handle (4) affords remote control of focus.
take in shooting a live telecast. At the
back of the camera is a focus control
which the cameraman uses to obtain per¬
fect focus and the best possible picture
composition — even in rapid camera
movement. Each camera is equipped
with a turret having three lenses which
may be changed instantly. Camera mo¬
bility, ease of focus and picture com¬
position are those of live television. Gone
are the tape measurements, the tracks,
the uncertainties and delays of conven¬
tional filming methods.
If the production is a multiple camera
effort, all cameras run simultaneously
and continuously and record the entire
program — each from its own position.
The picture from each camera travels
through live television equipment to a
related monitor in the control room.
There the director completely controls
the camera choice just as in a live TV
show. He is actually monitoring the pro¬
duction of a film show, calling his choice
of shots onto the “take” monitor, and
simultaneously feeding them to standard
“kine” equipment where a teletranscrip¬
tion is made as an editing guide. This
teletranscription includes all the special
effects— dissolves, fades and superimpo-
sitions as they come along naturally in
the program. They can then be readily
duplicated by optical methods as in any
film process.
The sound track is produced simultan¬
eously by a choice of conventional mo¬
tion picture methods.
After the program is shot, all the film
(Continued on Page 598 )
American Cinematocrapher
October, 1955
585
Preparation Of 16mm
Printing Leaders
Recommendations of Association of Cinema Labora¬
tories, Inc., for standardizing the marking and splic¬
ing of head and tail leaders in the pre-printing
preparation of 16mm films.
A '£AD l£AD^/?S
iBLACK LEADER
Al
•
•
•
DATA TO
PRINT THRU
X
X
PRINTER
K
_ TITLE 'A' ROLL
START PRODUCER 0R(G koda
HEAD
l
< - 2 FT - 1
<-
— 1 FT— ►
i — 25 FR->
i - 2 FT - »
4 - 4 FT
- 1
•
•
<
PRINTER
j?
•
*
A
START
title
PRODUCER
EOOta&e
'B' raou.
ORI& KODA
HEAD
5>
HP
m
printer
S3
TITLE
x
START PRODUCER
A
POOTA&E
DIRECT
pos HEAD
5
-2FT-
■I FT— ► «-
-2 FT-
-► <-
AFT-
FIG. 1 — Recommended procedure for marking Head Leaders.
UNTIL RECENTLY, the methods of the
small independent 16mm film pro¬
ducer for preparing his negatives and
A & B rolls for the printer have been
as varied and numerous as the produc¬
ers themselves. The consequence has
been an increasing load of detail for
film laboratories, most of which are now
working to capacity.
The Association of Cinema Labora¬
tories, Inc., of which Byron Rounda-
bush, head of Byron Studios and
Laboratory, Washington, D.C., is Chair¬
man of the Committee on Pre-print
Preparation, recently set up certain
recommendations which are now being
distributed among 16mm film producers.
The essence of the first two bulletins was
presented to readers of American Cine¬
matographer in the September issue; it
dealt with the preparation of original
16mm A&B rolls, and method of mark¬
ing work prints to indicate effects.
The subject of the third bulletin — the
preparation of 16mm printing leaders —
is dealt with here this month. Here we
shall describe how the leaders for 16mm
negatives are prepared and attached to
the roll of film. In actual practice, the
Association points out, a great deal of
time can be saved by preparing the
leaders separately, then splicing them to
the rolls of negative. The recommended
procedure follows:
Head Leaders: Head leaders are pre¬
pared in the following manner: To a
piece of double-perforated white leader
approximately 8 feet long (use single-
perforated leader if any of the original
in the A&B rolls is single-perforated),
splice about 2y2 feet of double-perfor¬
ated black leader (use transparent clear
leader in place of the black leader when
preparing negative picture rolls). Make
one of these for each picture roll. Pre¬
pare the sound track leader by splicing
a piece of single-perforated white leader
approximately 8 feet long to a 2y2 foot
piece of single-perforated black leader.
PI ace the picture and sound leaders in
the synchronizer, emulsion up, so that
the splices are opposite each other.
From this point measure two feet into
the black leader and make crayon marks
on the corresponding frames in each
black leader. These marks will indicate
where the splices should occur when
joining the leaders to the picture and
sound rolls. Now, turn the synchronizer
back to the original splices, and meas¬
ure one foot forward into the white
leader. Editorial (even) sync should
be here identified by making marks in
the white leader. Three small x’s should
be placed lengthwise in a single frame
in the sound area of the track so that it
will print through to the composite print.
(See strip A and B, Fig. 1.) Three
round dots should be placed running
across the film in the corresponding
frames of both picture rolls. When the
frames with the three dots in the picture
rolls are opposite the frames with the
three x’s in the track, the rolls will then
be in “editorial sync.”
Now to establish the projection (ad¬
vanced) sync marks on the picture rolls:
In the picture leader, counting the next
frame preceding the editorial sync mark
as number one, count forward exactly
26 frames toward the head of the white
leaders. The 26th frame is then marked
with two large X’s going across the
frame in the picture area. (See Fig. 1.)
This is the “projection sync” mark.
There should be 25 blank frames be¬
tween the “editorial sync” and the “pro¬
jection sync” marks. Now remove the
track from the synchronizer and advance
it to a position so that the sync marks
on the track leader (the frame with the
three small x’s) are opposite the pro¬
jection sync marks (the frame with the
two large X’s) in the picture leaders.
The track is now in its advanced posi¬
tion and the rolls are in projection syn¬
chronization. Now with the track in this
advanced position, measure toward the
head of the white leaders two more feet
and mark the corresponding frame in
the leaders of all rolls to establish the
“Printer Start” marks. It is recom¬
mended that these marks be indicated
(Continued on Page 608)
7A//.
black leader
'A' ROLL
TA|L wmL
BLACK LEADER
4 — 2 FT - ►*-
2 FT
A
2 FT
-► 4
I FT
+ 4-
2 FT
586
American Cinematographer
Octorer, 1955
EASTMAN
PROFESSIONAL
MOTION PICTURE
FILMS
W. J. GERMAN, Inc.
John Street 6040 N. Pulaski Road 6677 Santa Monica Blvd.
Fort Lee, New Jersey Chicago 30, Illinois Hollywood 38, California
SIDE VIEW of Oxberry animation stand and compound table. Equipment will handle the
most intricate of animation routines, including multiplane compositions. Here Albert Semels,
animation cameraman for Chad Associates, Inc., New York, adjust controls prior to making
an exposure for a TV commercial sequence.
FRONT VIEW of Oxberry animation stand showing
hand-wheels and electric switches, which provide
rapid and accurate control of animation steps in
photography. Exposure sheet guide is at lower right.
Animation Major Factor In Production Of TV Ad Films
Producer of TV commercials finds that professional
animation equipment speeds production and assures
client-pleasing results at minimum cost.
By VERN W. PALEN
Animation Equipment Corp.
Animation, which only a comparatively few years ago
was confined almost entirely to the production of car¬
toon films for theatre release, is now the favored medium
for TV commercials and spot announcements. Studios spe¬
cializing in animated films are toady working at capacity
to supply the tremendous demands of television for punchy,
animated advertising messages.
Simultaneously, there has been increasing development
in the design and manufacture of compact, efficient equip¬
ment especially suited for the independent producer of
animated motion picture films. Such equipment boasts auto¬
matic and motorized features which enable the independent
studio to turn out animated films of highest quality at
reduced cost necessary to meet today’s increasing compe¬
tition.
A typical installation of such equipment is found in the
studio of Chad Associates, Inc., 40 East 49th Street, New
York city. The Oxberry-designed animation stand and
588
American Cinematographer
October, 1955
compound automatically coordinates film, camera and plat-
ten. It’s overall dimensions of 11' 6" height, 5' width, and
6' 4" depth, make the equipment ideally suited to the space
limitations of the average independent studio.
A further description of the equipment will be of inter¬
est to the reader. The counterweighted camera carriage rides
up and down on ball bearings on two precision-ground
vertical steel columns. Special cams matched to lenses for
16mm and 35mm follow focus provide two chain-like sus¬
pensions which link the camera carriage to the counter¬
weights via two pulleys located at the column tops.
Operated by a five-speed stop-motion motor, the carriage
is provided with a faceplate to accomodate all standard
cameras and an interchangeable lens mount equipped with
a special Ektar lens for animation. In addition, there is a
shadow board with geared vertical adjustment. A four-sided
scale is mounted alongside one column to facilitate checking
the carriage position.
One simple control quickly adjusts a specially-designed
follow-focus cam for use with 16mm or 35mm film, as de¬
sired. Once the setting is made, the camera lens is auto¬
matically kept in focus for all carriage positions, a feature
that is especially important for zooms.
The compound table used in conjunction with the ani¬
mation stand permits a wide range of table movement north
and south and east and west using either manual or electric
control. The table receives up to and including 6-peg tracks.
A 3-point ball bearing system provides a free-moving no¬
play mechanism. All movement controls have click stops,
locks and counters that can be set for movement divided in
lOths or lOOths. Free-wheeling is available for dry runs and
fast action shooting. An opening through the table to the
floor permits underneath lighting for pencil tests and trans¬
parency copying.
With the highly-professional equipment at their disposal,
the Chad method of operation is pretty much as one would
find it in any top-ranking animation studio. According to
Chad Grothkopf, president and producer of Chad Associ¬
ates, Inc., most of the company’s clients come to them with a
film idea partially developed in the form of a story-board — -
a series of sketches matched to a word story. Then follows a
long conference with the client at which time it is deter¬
mined what he wants with respect to:
1. Length of the film
2. Character and action details
3. Lip sync sound
4. Rush or normal delivery.
With this information set down in detail, the studio per¬
sonnel gets together for an “idea session.” Those taking
part include the producer, animation directors, head de¬
signer and production manager. Following the crystaliza-
tion of a plan, the studio then prepares a comprehensive
working story-board. This is an expanded version of the
client’s rough story-board. Layouts are finalized and ani¬
mation is ready to begin.
At this point another conference is held with the client at
which time he approves or makes changes in the “pencil
test” submitted to him. Also, basic layouts, paper back¬
ground drawing, camera techniques and sound track con¬
tent are discussed and approved.
To an outside observer, the entire process appears to run
smoothly. This, of course, is the result of genuine coopera¬
tive efforts and real production know-how. Key idea men,
consulting with the client, are responsible for the final,
approved conception of the film. Layout and design experts
put the idea-men’s ideas on paper and add pleasing and
stimulating visual touches. The animation directors, in
consultation with the animators, add movement. Finally,
with the aid of automatic focusing and motorized controls
which the company’s equipment features, animation camera¬
men achieve a wide range of tricks and techniques which
save production time and provide greater freedom in the
animation process.
A film which the Chad organization recently produced in
16mm Kodachrome for Gulf Oil Company was semi-tech¬
nical in nature, designed to dramatize the superiority of
the company’s gasoline.
The client’s requirements were for 51/9 minutes of ani¬
mation. It was estimated that the job would take 8 months
to turn out if 100% “cel” procedure were employed. As it
(Continued on Page 612 )
ABOVE ARE three illustrations typical of the animation art produced by staff of
Chad Associates for TV spot announcements and commercials. Note use of latest
type stylized illustrating technique.
American Cinematographer
October, 1955
589
rf&-@ SPECIALISTS IN MOVIE EQUIPMENT
SHOOTING COLOR IN A CAVE*
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INTERIORS
AUDIENCE
REACTION SHOTS
COLOR
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f /0.95 LENS
In C mount for all 16mm cameras
“THE FASTEST CINE LENS IN THE WORLD”
More than twice as fast as f/1.4
Definition, resolution and contrast as good or better
than any comparable lens.
Price $165.00 $9.90 FET
Including —
Series VI filter holder, sunshade
Screw-on dust covers
Leather carrying case
DIRECTOR
CAMERA
DATE
PRODUCED
• Easily eraseable finish
• Hardwood clapsticks
• Silk-screened letters
• Supply dustless chalk
MODEL 1 — 9"xll" — $5.00
MODEL 2 — H"xl4" — $8.75
EXPANDED F&B SERVICES
COMPLETE RENTAL SERVICE . . . Cameras, light¬
ing, editing, recording and grip equipment.
MACHINE SHOP . . . For expert maintenance by
trained technical personel of all F&B equipment.
NEW MIDTOWN-STREET LEVEL LOCATION . . .
Equipment delivered to your car on dollies.
SHOWROOM . . . See displayed and demonstrated
all the latest in movie equipment.
NEW TIME PAYMENT PLAN . . . Extended time
payment service, from 90 days to 36 months.
PRO-CINE TRIPOD
Most Improved Tripod in the Medium Weight
Class, for All Cameras. Made in USA by F&B.
Price $135.00. Heavy Duty Case $20.00.
F&B SPLIT REELS
Simply open split reel, slip in film on core, and
close. 400' $4.50, 800' $6.00, 1200' $7.50,
1600' $9.00.
(Professional & Educational Discounts)
F&B GATOR GRIP-LITES
With barn doors. Hangs from a nail — clamps
securely to doors, chairs, flats or stands. Barn
door swivels 360°. Accepts diffusers, filters,
etc. Price $12.95 complete.
FINE CONVERSION
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600'
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Dual footage counter
External noise free take-up motor
Stabilizer insert
Complete installation
ONE YEAR GUARANTEE
F&B Leg-Lok Triangle
Leg-Lok clamps grip tripod legs — no fear of
points falling out of sockets, cameras and
triangle can be moved by 1 man now, can
be used on roof of wagon or truck. Adds
stability, rigidity and safety.
ALWAYS IN STOCK
New & Used
AURICON CAMERAS
ARRIFLEX — 16 & 35mm Cameras
MOVIOLAS — Synchronizers and Rewinds
BARDWELL-McALISTER — Lighting Equipment
BALTAR - ANIMAR - EKTAR - ZOOMAR Lenses
EYEMOS - FILMOS - CINE SPECIALS
ALL 16mm & 35mm FILM RAWSTOCK
TECHNICAL BOOKS— G.E. Lamps
PROJECTORS— B&H, RCA, Ampro, Kodak
EDITING SUPPLI ES— Reels, Cans, Fibre shipping cases
at lowest quantity prices
COMPLETE STOCK 8mm CAMERAS, PROJECTORS
F&B EQUIPMENT CATALOG— 24 Pages.
Lists all equipment you need for film production.
F&B RENTAL PRICE LIST— 16 Pages.
Complete pocket-size list. Everything at your fingertips
about the cost of renting equipment for Production,
Projection, Recording, Lighting and Editing.
BOTH CATALOGS FREE FOR THE ASKING
FLORMAN & BABB
Phone: Murray Hill 2-2928
Cable Address -FLORBABB, N.Y.
FIG- 1 — This is original scene as photo¬
graphed with conventional Mitchell camera.
FIG. 2 — This is composition used by lab¬
oratory in making Superscope print.
FIG. 3 — This is the resultant Superscope
anamorphic print — area .715” x .715”.
The Superscope Process
With this process, anamorphic prints are
produced in the laboratory from straight
35mm negatives, or from double-frame or
other wide-area negatives.
By WILFRID CLINE, A.S.C.
Although “Glory,” R.K.O. produc-
tion* starring Margaret O’Brien,
will be shown in theatres in wide-screen
format with anamoprhic prints, it was
photographed in Eastman Color with a
standard Mitchell camera and lenses.
Making possible its exhibition in wide¬
screen are the re¬
lease prints made
by Technicolor in
the Superscope pro¬
cess.
While Super¬
scope, perhaps, has
not enjoyed the
publicity that has
been accorded the
various other new
wide-screen processes, it holds much
promise for the future of wide-screen
motion picture presentation. Its sali¬
ent feature is that it involves in the
photography no special anamorphic
lenses and no special camera. With Su¬
perscope, the negative is photographed
in the conventional manner that has
been standard practice for years. It is
in making the release prints that the
changes take place.
R.K.O. studio, which aided in the de¬
velopment of Superscope, was the first
to recognize the need for a wide-screen
process that did not involve increased
production costs for such items as spe¬
cial lenses, cameras and film, nor re¬
quire excessive light levels for set light¬
ing. Very early the studio set about to
*Produced by David Butler for R.K.O. release.
find a method that would standardize
wide-screen film presentation, and while
this standardization still seems a long
way off, the Superscope process, studio
heads believe, offers the very means nec¬
essary to bring it about.
Irving Tushinsky, who with his bro¬
ther Joseph invented and developed Su¬
perscope, has always believed that the
proper way to produce an anamorphic
print is to do it in the laboratory — in
the printing stage rather than in the
photography — which is the basis of Su¬
perscope. He believes also that the eco¬
nomics of film production are such that
(Continued on Page 610)
Wilfrid Cline
SHOOTING a scene for “Glory” for re¬
lease in Superscope and color. Here
director of photography Wilfrid Cline
and his crew watch rehearsal of action
being directed by producer David Butler,
center. A standard Mitchell 35mm cam¬
era was used for the photography.
“WE WORK with a con¬
cise, yet efficient vari¬
ety of cameras and film¬
ing equipment, both
16mm and 35mm,” says
Roy Zeper, staff photo¬
grapher, Philco Record¬
ing and Photographic
Unit.
Company-produced films range from the
“nuts and bolts” variety to television
commercials.
FIG. 3 — The interlock system was controlled by the cameraman,
using series of switches shown here.
FIG. 1 — Resourcefulness enables Philco’s film unit to meet just
about any problem, such as the one requiring shot of TV screen
action in sync with a woman’s hand operating a remote control
unit for changing channels. Solution? Rear projection.
Filming
For
Philco
FIG. 2 — Boih camera and projector were interlocked electrically,
using Selsyn motors running off sync motors mechanically geared
to the projector and camera drives. Thus, projector was driven at
same speed, frame by frame, as camera.
There are many attributes required by the company staff
cinematographer — especially when the assignment is a
tough one, bound by an inflexible script. But far worse than
a rigid script is one containing sketchy outlines, hazily de¬
scribed. It is here that the director and cameraman will
record a mediocre interpretation; or, through experience,
resourcefulness and imaginative creation lift it into the
realm of an impressive, fluid film containing a favorable
visual impact that will remain with the audience.
Fortunately, we at Philco can lean on the able direction
of the manager of our unit, Carl W. Voelker, backed by his
seventeen years of varied motion picture experience.
The majority of our film productions are of the “nuts and
bolts” variety; but, within them we have endeavored to
match the high standards that have made Philco Famous
For Quality The World Over. Production begins with a
script originating from the sponsoring department or
agency. These scripts have been skillfully composed, not
only to advertise, but to explain and teach in an entertain¬
ing manner what makes the subject Philco product ‘tick’
— illustrating the research, technical know-how and en¬
gineering that has gone into its inception, development and
production — facts well worth knowing in buying or selling.
( Continued on Page 602)
BRILLIANT
That happy glow (limelight?) in Precision's corner
is simply the radiance of a solid reputation for
sound, careful and accurate film processing.
Wotta performer.
Precision is the pace-setter in film processing. In
the past. Precision found techniques to bring the
best out of black and white or color originals.
In the present, facilities are the profession's very
best for any of your processing needs.
And, in the future. Precision will, as usual, be
first again (depend on it) with the newest
developments to serve you better.
you’ll see
and hear
FILM LABORATORIES, INC
21 West 4- 6 1 h Street, New York 36, New York
A DIVISION OF J. A. MAURER. INC.
In everything, there is one best .
DEDICATED TO DETTED PERFORIDRDCE
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tripod legs. Adjust¬
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For studio or location. Folds
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TV OR
CAMERA DOLLY
The advanced dolly for
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streamlined, light¬
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JOHN CLEMENS
ERWIN HARWOOD
209 W.48th ST., NEW YORK 36, N.Y.-CIrcle 6-0348
MS
THE CONTINENTAL — new Ford luxury automobile making debut
this month — is star of sponsored film ‘'Continental” produced by
Raphael G. Wolff Studios, Inc., Hollywood. Here veil of secrecy
shrouding car is lifted momentarily so Wolff camera crew can
make trucking shot that introduces completed car in picture. Film
was produced in sound and color.
Filming The Birth Of
A New Automobile
By AL VAUGHAN
This is the story of a sponsored motion picture whose
production had the cloak-and-dagger overtones of an
OSS melodrama — of pre-dawn rendezvous — of masked
identities — lurking “special agents’’ — and of a star who met
an untimely end and was replaced by a standin. It is the
story of the secret birth of a new automobile which this
month takes off its wraps to make its bow in public — the
Continental Mark II.
Last February when the Ford Motor Company engaged
Raphael G. Wolff Studios, Inc., of Hollywood, to film the
story of the development of the Continental — a car designed
to be America’s finest, and virtually hand made — executives
warned the moviemakers that an element of catch-as-catch-
can would be involved. It was something of an understate¬
ment. For although every conceivable cooperation was ex-
( Continued on Page 607)
CAMERAMAN Art Treutelaar (on floor, foreground) lines up
scene with William Clay Ford, President of Continental Div¬
ision, Ford Motor Co., and John Reinhart, chief stylist, for
sequence in “Continental.”
IN GYMNASIUM of former Ford Trade School, artists work on
sketches for the new Continental — a project cloaked in such
secrecy that only a handful of Ford men were aware of it. Cameras
end crew from Raphael G. Wolff Studios, Inc., were there to record
the activities and make them part of the sponsored film “Con¬
tinental,” to be released simultaneously with debut of car.
Amateur
CINEMATOGRAPHY
Time Lapse Transitions
New ideas for expressing visually the passage of
time that outmode such time-worn cliches as over¬
loaded ash-trays, whirling clock hands and falling
calendar pages.
By HAROLD BENSON
The hero takes a puff of a cigarette,
and stubs it out in an empty ash-tray.
Dissolve to — that’s right — an ash-tray
overflowing with cigarette ends. Time
Has Passed.
But it’s been passing that way for
years in so many films. Whenever the
script demands an interlude between
shots, out comes a packet of twenty. Or,
if the director’s really daring, drinks
are handed around and the dissolve in¬
troduces wine-glass rings on the table.
Most film makers, whether top profes¬
sionals or lone amateurs, would rather
be buried in film cement than fall back
on whirling clock hands. Anyone who
indicates the passage of months with
falling calendar leaves is regarded with
horror. And who would now dare to use
a title saying “Ten Years Later?’’
But in their anxiety to avoid these
cliches, film makers have produced a
whole crop of new ones. The cigarette
ends and wine-glass rings should be eyed
as warily as their predecessors.
The problem of telling an audience
that an hour, a day, a week or a year
has passed is a fascinating one, for until
the advent of the cinema it had never
existed. In the theatre time only passes
between scenes and acts, with the assis¬
tance of a programme note.
The film maker enjoys a freedom of
time and place similar to that of a
writer, the most unrestricted artist of all.
But whereas a novelist can write “It
was three months before I saw Harry
again,” most film makers believe that
they should express the three months
visually.
Personally I feel that this is not an
invariable rule. A visual time lapse is
ideal, of course; but if it means deliber-
atly distorting the balance of a scene
or sequence, a superimposed caption of
the “Three Months Later” variety is
surely preferable.
A director who refuses to use- a title
under any circumstances is rather like
a silent film maker who insists on com¬
pletely excluding sub-titles from his
work even when it takes him twenty
shots to say something he could have
said in three words. In both cases the
idea of searching for a purely filmic
method of transmitting vital information
is to be applauded. But carried to ex¬
tremes it can become ridiculous.
Those cigarettes and drinks, for in¬
stance, are usually introduced solely to
solve the time lapse difficulty. They add
nothing to the film, and they often oc¬
cupy unnecessary footage.
Film meals are frequently as mean¬
ingless. The clatter of plates all too often
implies that an hour or so is about to
be disposed of. How many actresses
have ruined their waistlines as they ate
their way through rehearsals and re¬
takes to give the director opportunity to
dissolve to that old standby, the table¬
load of dirty dishes?
Economy in story-telling is essential
to a successful film. Indeed, most of
these time lapses are intended to be aids
to economy. But if a whole sequence is
devoted to the preparation or serving of
a meal merely to allow an easy bridge
between the neighboring sequences,
where is the gain?
In any case, these links are becoming
so overworked that a director's origin¬
ality (or rather his lack of it) may al¬
most be gauged from the extent to
which his cast are forced to eat, drink
and smoke. The dearth of new ideas
in this direction is strange, for there is
no reason why time lapses should not be
freshly and naturally suggested.
“Freshly and naturally,” in fact, is a
useful phrase to remember when con¬
sidering this problem. New ideas are
obviously needed; but enthusiasm for
novelty should never obscure the im¬
portance of keeping the time device in
close association with the situation. Each
case should be considered quite separ¬
ately. It’s no good thinking up some
dream of a device to insure smooth con¬
tinuity and then searching for an oppor¬
tunity to use it.
Start with your characters, setting
and essential action, and see what they
suggest. Even if we’re confined to one
man and a desert island we can still
imply the passing of six months without
(Continued on Page 605)
IF YOU BEGAN taking movies of your first born and have continued periodically until he has
grown up, as pictured here, you’ll probably want to condense the accumulated footage and
bridge the remaining sequences together with appropriate time lapse transitions. An imagin¬
ative approach will enable you to come up with some original ideas that will make it
unnecessary to resort to old transitional cliches.
596
American Cinematographer
October, 1955
Amateur
CINEMATOGRAPHY
The Case For
Hand-lettered Titles
You don’t have to be an artist
to letter your own title cards.
By JOHN FORBES
EXAMPLE of typical amateur movie
titles lettered by hand. Using pen
and ink or brush and colors, the
average cine filmer can turn out
artistic main titles for his film
productions.
Most of the pictures you see on theatre screens today
are introduced by an artistic if not lavish hand-
lettered main title. The amateur movie maker with more
than ordinary pride in his him making will introduce his
films on the screen in like manner. A hand-lettered title
not only lends more distinction than other forms of letter¬
ing, but it often affords opportunity to work in a decorative
scheme in the composition in keeping with the theme of the
picture.
This is by no means intended as disparagement against
use of block title letters or other mediums of title card
composition; it is only that the hand-lettered main title has
become so firmly established, through long and continued
use, as the introductory caption for motion pictures.
Nor should it be concluded that amateurs with a flair
for art and lettering are the only ones who can hand letter
title cards. The number of cine amateurs who can do a
good job of free-hand lettering may be relatively few, but
there are methods of lettering title cards — and certain
gadgets and accessories available — that will enable the
unskilled to letter with surprising skill.
First there are the Speedball lettering pens, obtainable
at stationery stores for about fifteen cents each, which
enable the user to achieve remarkable results. Any person
THE VARIGRAPH is just one of several gadgets on the market
which will enable the unskilled to do a professional job
of hand lettering title cards.
who can hold a pen and draw a straight line can use them
with success. Speedball pens come in a variety of styles —
that is the points vary in size and width so that it is possible
to select a pen for the particular style of lettering desired.
These pens hold a supply of ink in the tip, and the broad
surface of the tip produces a stroke similar to that achieved
by a skilled artist with a brush. They may be used with
colored inks supplied by the makers, diluted show-card
colors, or black india ink. The manufacturers have pre¬
pared an interesting and instructive booklet that shows how
to achieve lettering success with Speedball pens. The book
is available wherever Speedball pens are sold. Movie ama-
turs seeking a simple accessory by which to hand letter
title cards will do well to investigate.
Another system which assures skill in hand lettering are
the perforated lettering guides available at stationery stores
which enable the user to make straight, uniform letters
with little more effort than writing free hand. The guides,
actually templates, are flat strips of transparent celluloid
(Continued on Page 604)
American Cinematographer
Octorer. 1955
597
Convert Your Auricon
Pro or Cine -Voice to
Accept 400-ft Magazines
f^sh°ots0f
“■ iPte 5 1
The most satisfac¬
tory custom conver¬
sion to use all film
rolls from 5 0'
through 400' for di¬
rect recording of
1 6mm sound-on-
film. Your camera
is entirely rebuilt,
refinished and con¬
verted, or we can
supply complete
new units on order.
Thoroughly tested, approved
and in use by major TV sta¬
tions.
• Magazine will accept up to 500 feet of film.
• Signal light tells when camera is running.
• Direct drive — no lag or speed-up of film travel.
• Extremely accurate Veedor reset-type footage in¬
dicator built in.
• Extra camera monitor phone jack.
• Exclusive ball-bearing shaft magazines.
• Canon lock-on plugs for all sound cables.
Write for Literature
Priced
from
We are also distributors for the
HILLS FILMATIC 16mm Processor
HAROLD’S Photography & TV
308 South Phillips, Sioux Falls, S. D.
CINEKAD
JUNIOR TRIPOD DOLLY
This collapsible three-wheel tripod dolly is
especially designed to meet the demand
for convenient mobility of cameras on loca¬
tion or in the studio.
Dolly can be used with any professional or
semi-pro tripod.
The tripod is fastened firmly to the dolly
by a clamp at each leg tip.
The special individual caster locking system
makes it possible to lock either two or
three wheels in a parallel position, enabling
the dolly to track in a straight line for
rolling dolly shots.
Dolly folds quickly into a single compact,
easy-to-carry unit, 23 inches in length,
weighing 14 lbs.
IF rite for Prices and Literature
CINEKAD
ENGINEERING COMPANY
500 WEST 52ND ST., NEW YORK 19, N.Y.
PLaza 7-3511
DESIGNERS AND MANUFACTURERS OF
MOTION PICTURES AND TV EQUIPMENT
GLEASON GOES “LIVE ON FILM”
(Continued from Page 585)
is sent to a laboratory and processed.
The director examines the teletranscrip¬
tion which can be made available with¬
in hours after the completion of shoot¬
ing, and which represents his original
choice of scene and sequence. If he is
satisfied he says “print it,” and the in¬
dividual reels of film from each camera,
plus the sound track, are locked in syn¬
chronization with the teletranscription,
and run through editing equipment for
an expedited and simplified cutting and
splicing process.
If the director indicates a preference
for other shots than his initial choice,
coded and timed “takes” from another
camera may readily be substituted at this
point, and the finished master sent to the
printer.
Thanks to exclusive Electronicam
short-cuts, the weeks of conventional ed¬
iting toil are cut to days in this system.
Performers and producers like the
Electronicam for the results that it gives
them, artistically. Sponsor and agency
executives like it for more practical rea¬
sons — for its economy, and for all the
advantages inherent in film.
The economy and efficiency of the
Electronicam system of recording pro¬
grams on film as compared to conven¬
tional methods are quite apparent to all
familiar with the older process, and
these elements immediately become ap¬
parent in the dollars-and-cents cost pic¬
ture.
The economies start early and run
through every step of the operation, be¬
cause they are the economies of live tele¬
vision as compared with motion-picture
methods. The Electronicam, for example,
permits quick setting up. The enormous
amount of costly time now taken in set¬
ting up cameras on a scene-to-scene ba¬
sis can be eliminated in favor of tele¬
vision technique which features contin¬
uity of action. This operation, particu¬
larly in elaborate productions where
large groups of performers and many
sets are being used, can be especially
costly, Du Mont engineers point out.
In the Electronicam system, on the
other hand, the individual camera moni¬
tors in the control room are used by the
director in blocking and setting, in re¬
hearsal — without any film being run —
and during actual shooting, with obvious
economies in time and cost.
Jackie Gleason and his company — Art
Carney, Audrey Meadows, and Joyce
Randolph — are putting two programs a
week on 35mm film at the Adelphi the¬
atre in New York for “The Honeymoon-
ers” series, which will go on the Colum¬
bia Broadcasting System under Buick
sponsorship this Fall. Gleason has found
that he can work with the new camera
exactly as he has worked on live TV
1
SUBJECT
0
CAMERA SWITCHING
AN D
ELECTRONIC EDITING
CAMERA CAMERA CAMERA €
MONITOR MONITOR MONITOR
♦ I *2 #3
5£fn
QQ
1 — : — 1
tele-transcription
[recording 1
"EDITING MASTER'
*
j
i
t
1
t
TAKE- AIR
MONITOR
00
Q0
DIAGRAM shows how Electronicam system works from time scene is photographed (upper
le.'t) to the finished film image ready for projector or air transmission (lower right). The
three camera images are recorded on motion picture film at same time they are sent elec¬
tronically to camera switching panel where the selected “takes” are recorded by tele-
transcripfion.
5%
American Cinematographer
Octorer, 1955
Take Advantage of S.O.S. Time-Payment Plan
Convenient payment terms arranged. You may apply
your idle or surplus equipment as a trade-in.
“ Auricon Pro-600” with Lens
Blimping Hood, Auto Parallax
Finder with Magazine, Tripod
Edit Film Safely with the
EDIOLA
ACTION
VIEWER
AND
SOUND
READER
A low priced professional 1 6mm Action Viewer — projects big, clear
aerial image — roller smooth- left to right — synchronized with Pre¬
cision Sound Readers on Special Base — Write for brochure.
In combination with Sound Reader & Base . $347.45
S.O.S Ediola Action Viewer . 124.95
Optical Sound Reader . 185.00
S.O.S. Ediola Base only . . 49.50
OLESEN
CHROMOSPOTS
LIGHTING
EQUIPMENT
Acclaimed by TV Stations,
Motion Picture Producers
and Major Studios
OLESEN lighting is recognized the world over for extra versatility,
power and range of fine lighting so essential to catch the complete
detail of set and action of the camera. ALL SIZES from 1 00W to
1 0,000W.
• The most advanced scientific engi¬
neering — produces unparalleled even¬
ly distributed illumination across the
entire field at full speed.
• Meets all the new lighting require¬
ments of color television and wide
screen motion pictures.
• Better light control and wider ver¬
satility of illumination for every re¬
quirement — from small spot focus to
extra wide flood focus without
"ghosts'' dark center spot found in
other lamps.
• Cooler in operation, prolongs lamp
life. Outstanding for sturdiness and
durability, yet about one-third lighter
for easy handling and maneuverability
on the set.
WRITE FOR CHROMOSPOT CATALOG illustrating
complete line of lighting equipment and accessories
Professional
Picture Camera with
Built-in Features
"Auricon Pro-600” with Single-
Lens “C” Mount, Tele-Finder
Objective, View Finder, Magazine
"Auricon Pro-600” with Critical
Ground-Glass Focusing , 3-Lens Turret
if Self-blimped for completely quiet stu¬
dio operation. The whisper-quiet film
flow of The "Auricon Pro-600" is
silent proof of precision design. Your
sound-recording microphone never
picks up "Pro-600" Camera noisel
★ 600 ft. film Magazines with Auricon-
Electromatic Take-up, for 16 minutes of
continuous "Talking-Picture" filming.
★ Synchronous Motor Drive for "Single-
System" or "Double-System" Re¬
cording.
it Available at added cost is "Single-
System" equipment for Optical Sound-
Track-On-Film, "C-mount" Lenses,
Film Magazines, View-Finders, 3-Lens
Turret, Critical Ground-Glass Focusing,
Lens Sun-Shades, Tele-Finders, etc.
★ Sold with 30 day money-back guar¬
antee, you must be satisfied!
PRICES START AT $1165
Write for free illustrated “ALL NEW Auricon Pro-600" literature and prices
SPECIAL OFFER to AURICON-PRO OWNERS
S.O.S. will accept your old camera as a trade-in for
the “All New Auricon Pro-600”. Time Payments, Too!
The One-Stop
S.O.S. Has YOUR BEST DEAL
ON
The ALL MEW
AURICON PR0-600
for 1 6mm Optical ^ouncl - On - <0~ilm
S.O.S.
The Department Store of the Motion Picture Industry’
PIIUFIMA QIIPPIV MRP 602 WEST 52nd ST., NEW YORK 19, N.Y.
UlllLIVI/l UUl I LI UUIII • Phone: PLaza 7-0440 Cable: S0S0UND
BRANCH OFFICE: HOLLYWOOD, CALIF., 6331 Hollywood Blvd., HO 7-9202 — For Other S.O.S. Offerings See Page 580
r-*'
U H L E R
35-16mm. Optical Reduction
and Enlarging, Printer
I'hler 35-16mm Optical Reduction & En¬
larging Printer. Reduces 35 to 16mm and
enlarges 16 to 35mm in color or black and
white film. The registration is the step print¬
ing method with color corrected optical sys¬
tem. The mechanism is precision engineered.
Semi-auomatic dual light controls. 1200 ft.
capacity.
The machines are tested and guaranteed.
They are built for long and lasting opera¬
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We will be pleased to forward circulars on
other types of printers also.
UHLER CINE MACHINE CO.
15778 Wyoming Ave., Detroit 38, Mich.
Phone: University 1-4663. Cable: “UHLCIMA”
LAB-TV
Professional
KMM BLACK & WHITE
PROCESSING
Processing on
hourly schedule for
leading TV Stations and
Producers
FASTAX SPECIALISTS
•
Write for Circular
247 W. 46th St.
New York 36, N. Y.
and, for that reason he’s confident that
he will come up with a show that will
have all the bounce, all the spontaneity
and naturalness of his live telecasts.
He and his company come to rehears¬
als around 2 p.m. Tuesday and Friday
afternoons, run through their lines and
action till 3:30 or 4, and then break for
dinner. Back at 8. they find an audience
of 1200 awaiting them, and they film
the show in the same time it takes to
perform it— recording laughs and fluffs
just as they fall for what Jackie calls
“an houest performance."
As may be seen in the photo on page
584, three Electronicam 35mm cameras
are used. The crews for each consist of
a first film cameraman, an assistant film
cameraman, a television cameraman and
one cable boy. After the cameras are
set up and the set is lit, the television
cameraman does the actual recording or
operating.
The cameras work consistently at an
aperture of f/5.6, using Tri-X film, and
all three operate continuously even when
their respective pickups are not selected
for the “line” by the director sitting at
the master monitor.
Warren Wade, one of television’s best
known pioneer producers, is filming his
award-winning “Broadway TV Theatre"
with Electronicam on 16mm film at the
Telecenter.
Several program packages have also
put pilots for their Fall productions on
film via Electronicam.
One of them who made a 90-minute
show famous says that the Electronicam
system alone makes the filming of such
a series a practicable matter. “Our se¬
ries,” he adds, “was successful because
the program gave viewers the sense of
actually sitting in a theatre watching a
hit. Live TV caught the mood, the feel,
of the production and got it across to
viewers. Conventional film production
methods have never been able to do
that. The Electronicam, however, gives a
producer all the flexibility and mobility
of live television.
“Under the old conventional system,
a producer was required to shoot his
play in segments, wait to look at the
rushes of what he had done, and go on
and shoot some more — a procedure that
interrupted the flow of thought and ac¬
tion, simply destroyed dramatic impact.
Once we start dramatic action in front
of the Electronicam, we run right
through to the end. With the Electroni¬
cam we can put the whole play on film
in not much more time than it would
take to telecast it, thus maintaining the
mood heretofore associated only with
live production.”
Another program packager is putting
five episodes of a serial drama on film in
one day of shooting plus one day of set¬
ting up and lighting — with the approba¬
tion of his sponsor, and the cooperation
of its agency. A job like this, the pro¬
ducer says, would have cost so much
that, despite the advantages of film, he
had always kept the show on the air
live. (It is currently a daily feature on
NBC-TV.)
Another producer tried for a long
time to get his five-day-a-week serial on
film. For one week's series, he requires
fifty minutes of film. He sought esti¬
mates from several established film pro¬
duction firms. Their estimates ranged
from a low of $15,000 to a high of $18,-
500. With the Electronicam, he will be
shooting his required 50 minutes on the
schedule given above at costs within his
budget.
Another feature that a packager likes
about the Electronicam is that work¬
ing with this system he can retain his
producers, directors and actors — all
television people who continue to work
with techniques already familiar to
them.
The new 35mm Electronicam pick-up
unit, developed by Du Mont’s Research
Laboratories engineers, offers major im¬
provements over earlier versions of the
system. It includes an especially de¬
signed and adapted Mitchell motion pic¬
ture camera with an image-orthicon tel¬
evision camera in a single operating
unit. High quality films may, therefore,
be made using electronic viewing
screens as a guide in shooting a picture
and incorporating the same fast produc¬
tion techniques that are an integral part
of live television programming.
In the 35mm Electronicam, an optical
system splits the light so that it is shared
by both the film and the electronic pick¬
up sections of the Electronicam simul¬
taneously. The proportion of the light
sent to the two pick-up units may be
varied widely depending on the type of
film used and the lighting conditions
under which the footage is exposed.
The sensitivity of the image-orthicon
camera — it requires much less light
than a movie camera for satisfactory
operation — permits the light to be split
in such a manner that the film pick-up
section receives a maximum of the
available light being used at any time.
The new 35mm Electronicam oper¬
ates with the same facility as a conven¬
tional television camera, allowing the
same freedom of movement and ease of
focusing. A handle at the rear controls
focus for the common lens system.
This permits continuous control of focus¬
ing throughout the shooting sequence.
Thus, the advantages of television “ad
lib” focusing and camera direction are
made available to the motion picture di¬
rector. The operator of the Electronicam
pick-up unit determines the focus by
looking at the image in the unit’s elec¬
tronic viewfinder.
A new panel control on the 35mm
Electronicam permits any one of a
600
American Cinematographer
October, 1955
cago, Dallas. Kansas <~ny. ^
York. Pittsburgh. San Franasco
In Canada:
Carbide Canada Limited, Toronto
Atlanta
§■111
TSffira
The advantages of carbon
arc studio lighting have long
been recognized. Until recent¬
ly, however, it was necessary
to filter carbon arc sources
very heavily when shooting on
a yellow-light basis.
Now, with the new "National
yellow-light studio carbons,
you can freely mix arc lamps
and inkies on the same set
with minor filtering an^ V*
tually no loss of useful hgit.
This new carbon nearly cou
bles the effective light from
arc sources without addmona
power input - or, where arc-
lighting is essential for broad
coverage, penetration or
modeling, it reduces by almost
half the number of arc lamps
needed for 3300°k film.
Here, again, National Carbon’s
research facilities, prompted
by the company’s long associa¬
tion with progress in film-
making, have paved the way
to substantial production
economies without comp-O
mising the industry’s high
standards of excellence.
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group of lenses to be selected electron¬
ically by merely pushing a button. An¬
other new development used with the
35mm Electronicam is a footage and
elapsed-time counter. This device, sit¬
uated in the control room of the film
production center, indicates the amount
of film footage which has been exposed
on any Electronicam unit being used
and the amount of running time which
is represented by the footage exposed.
Film producers, therefore, have an in¬
stantaneous means of checking from a
single point the operation of each cam¬
era in use as an aid in timing pro¬
grams, an important factor in television
broadcasting.
Du Mont’s engineers say that Elec¬
tronicam will prove especially valuable
in the production of color films for tele¬
vision. Live color programming today
suffers from a lack of uniformity in the
technical quality of the pictures present¬
ed from one camera to the next. This is
partly due to electronic instability in the
color television cameras and to the fact
that the quality of the pictures pre¬
sented by each camera varies widely. In
contrast, the 35mm Electronicam per¬
mits a program to be filmed in color
with rigid control of the shooting at all
times so as to achieve a uniformity of
quality that cannot be equalled by live
color programming. Electronicam also
gives results which are far superior to
any present method of electronic re¬
cording on tape.
According to Du Mont, 35mm Elec¬
tronicam units will be made available
on a national basis for use by the mo¬
tion picture industry, TV film pro¬
ducers, television stations, and for pro¬
duction of industrial, educational and
governmental films.
FILMING FOR PHILCO
( Continued, from Page 592)
These films serve many useful com¬
pany purposes. They acquaint our dis¬
tributors and dealers with the new lines
in production or shown at our semi¬
annual conventions; they explain to the
world-wide family of Philco dealers, as
well as to prospective customers, the
newly developed features, styling and
electronic advancements; also, we pro¬
duce television commercials and spot an¬
nouncements for general public dis¬
semination.
Filming some difficult shot can lead to
a score of technical difficulties, but hav¬
ing access as we do to some of the best
electronic brains and equipment in the
world proves invaluable in solving some
“impossible” problems. Like the one re¬
cently that called for a shot of a tele¬
vision receiver with picture and with
the screen action appearing in synchro-
602
American Cinematographer
October, 1955
nization with a woman’s hand operating
a remote control unit changing the TV
station. (Fig 1.) While rear projection
seemed to be the answer, still a number
of problems remained to be solved.
First of all. the projector shutter had
to be synchronized with the camera
shutter so that each would open simul¬
taneously for the exposure, then advance
together at the precise same time. The
external drives of the projector and the
camera would have to be run at the cor¬
rect number of revolutions to achieve 24
frames per second; which incidentally,
did not match RPM for the required 24
second frame speed.
It was necessary to light the set so
that no illumination fell on the translu¬
cent screen; station flopover had to be in¬
troduced with each station change; the
channel selector knob rotated; also, the
actress cued when to press the automatic
tuner switch ... all of these to take
place almost simultaneously, in their
proper sequence.
Two Selsyn motors, one on the cam¬
era and one on the projector, were elec¬
trically interlocked. These were driven
by sync motors on the Arriflex (Fig. 3)
and the projector, (Fig. 2) through
chain drives which were appropriately
geared. This solved the equipment sync
problem.
The personnel sync-cueing-system was
simply performed by applying an inch-
long piece of magnetic tape along the
sound edge of the film at a 50 frame
distance before each scene change. The
projector was operated with the mag¬
netic playback head functioning, thus
establishing an audible cue of one sec¬
ond as to when to expect the film scene
change (26 frame normal track ad¬
vance; 24 frame for the one second cu¬
ing advance).
Drawing from our bag of produc¬
tion and lighting techniques, we came
up with a sequence meriting the ap¬
proval of film layman and expert alike.
We work with a concise, yet efficient
variety of cameras and filming equip¬
ment, both 16mm and 35mm; we use
our own ever-expanding prop depart¬
ment, and construct the majority of our
sets.
Prior to actual production, each day’s
anticipated shooting is carefully an¬
alysed, enabling us to prepare talent,
props, camera and actors’ action in es¬
tablishing a pre-conceived shooting plan.
Each job is tackled as a direct challenge
from which to put the best into each
frame; working diligently at improve¬
ment until we feel that optimum results
are safe within the can.
An unusual shot may require days of
camera planning and execution, and last
but a few seconds on the screen; but, if
it sparks the visual impact necessary to
drive home a noteworthy point of infor¬
mation to the viewing audience, it war¬
rants the effort expanded. end
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An intelligent approach to today’s
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WRITE FOR COMPLETE LITERATURE
Headquarters for Professional Photographic Equipment Since 1920
J. G. SALTZMAN
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SALES DISTRIBUTORS for CAESAR MANUFACTURING, INC.
480 Lexington Avenue, New York 17, N. Y.
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FROM ONE SOURCE
CAMERAS
MITCHELL
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all models single system
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Platform • Western
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LIGHTING
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Bardwell McAlister
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Spider Boxes
Bull Switches
Strong ARC-Trouper
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Gator Clip Lites
Barn Doors
Diffusers
Dimmers
Reflectors
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EDITING
Moviolas • Rewinders
Tables • Splicers
Viewers (CECO)
GRIP EQUIPMENT
Parallels • Ladders
2 Steps • Apple Boxes
Scrims • Flags
Gobo Stands
Complete grip equipment
SOUND EQUIPMENT
Magnasync-magnetic film
Reeves Magicorder
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HAND-LETTERED TITLES
(Continued, from Page 597)
with the design of various letters of the
alphabet, punctuation marks and num¬
erals, cut out as in a stencil.
The guide is laid on paper and the
desired letters formed by following the
cut out letter design with pencil or pen
and ink. The guide is moved as neces¬
sary, in order to bring the required let¬
ter stencil in place next to the letter al¬
ready inked in, and its pattern traced.
In other words, in forming the word
“AND”, the “A” stencil is first traced,
then the “N”, and so on until all words
in the text are traced. Such lettering
guides are available from stationery
stores and some photographic supply
dealers. Prices range from twenty cents
up for single guides. A “guide” usually
includes all characters of the alphabet
in either upper or lower case, punctua¬
tion marks, and numerals 1 to 0.
Still another method of producing
hand-lettered title text is by tracing the
characters from those printed in books
especially for the purpose.
In following this method, titles are
lettered on either celluloid, glass or trac¬
ing paper laid over the characters in
the booklet. The letters are traced and
inked in, or colored one by one to form
the words of the title text. This sys¬
tem is most applicable to main titles, al¬
though it can also be used for lettering
subtitles. Color combinations are easy
to achieve and the system affords an
easy means of superimposing lettering
on art or photo backgrounds, when done
on celluloid or glass.
One thing that should be remembered
is that hand-lettered titles usually call
for title cards larger than those used in
the familiar typewriter titler. hile it
is possible to letter the smaller cards for
typewriter titles, a better job results
where the cards are 7 by 9 inches in
size or larger. One thing in favor of
larger title cards is that the ratio of en¬
largement on the screen is considerably
less than with the typewritten title
card, with the result that texture of
background or errors in alignment are
not so noticeable.
With Kodachrome, the predominant
cine film in use today, titles must nat¬
urally be composed in color. Here con¬
trasts between the letters and back¬
ground must he watched in order to
insure an easy-to-read title on the
screen. Black is probably the most ac¬
ceptable color for lettering over such
background colors as yellow, orange,
light blue, pale green, and violet. Yellow
letters form good contrast with deep
blue or scarlet backgrounds. It is well
to remember always to choose colors
with the greatest ratio of contrast.
As for color materials for lettering,
i. e., inks, paint, etc., the American
India Ink Co., makers of the well known
Higgins black India ink. also manufac¬
tures a wide assortment of colored India
inks. These may be applied with either
pen or brush and are waterproof. Ordi¬
nary blue or black fountain pen ink
should never be used as substitute for
India ink. where black lettering is
called for. because the density of these
inks appears much lighter to the camera
lens under the intense light of photo-
floods.
For the showcard paint brush or
Speedball pen, showcard colors will
prove one of the best materials for let¬
tering purposes. These colors are easy to
apply and dry with an even over-all
density so essential to good titles. For
use with Speedball pens, some showcard
colors must be diluted and this should
be done according to manufacturer's
directions.
Whether the reader desires to make
but a single hand-lettered main title or
to do all of his title lettering by hand,
it will be time well spent investigating
at first hand the lettering methods de¬
scribed here. Remember no artistic abil¬
ity is required whatsoever to follow
these methods. It is for the novice that
such lettering devices are made to ease
the path of accomplishment. end
604
American Cinematographer
October, 1955
TRANSITIONS
(Continued from Page 596)
stepping aside from the plot to do it.
Lets imagine that we've shown the
man’s arrival, his discovery that he’s
alone, and his inability to return to
wherever it was that he came from. He
realizes he must make the best of his
circumstances — and here, according to
our script, we leave him for two months.
At first this might seem fairly straight¬
forward. During the two months the
man would, presumably, have built some
kind of a dwelling, have organized some
method of catching, killing and prepar¬
ing food, and have made himself as com¬
fortable as possible. So what would be
easier than to fade out on him setting
to work on his building and fade in on
the c( mpleted house?
Hu this job, and the others, might
only Jiave taken him a week or a month,
and the script insists on “two months
later.” There may be some important
point in the story which demands that
this e tact period is recognized to have
elapse d by the audience.
What could show the date on a desert
island? Nothing — unless we revert to the
cliche of showing our character writing
in a diary. But we’ve already decided
to use something out of the rut. So let’s
agree that our hero lost his diary, log
book and calendar with all his other
possessions.
All the same, he might want to keep
some account of the passing days. Per¬
haps he would cut a mark on a tree
every morning, grouping the notches in
weeks and months. Here is a perfect
closeup to open our “two months later”
sequence. The groupings would show
the period that has passed, and the or¬
derliness of the whole arrangement
would at once suggest that our hero has
come to terms with his strange condi¬
tions. A slow pan from the notched tree
past home-made fireplace, oven, larder
and garden, coming to rest on the house,
would confirm this.
Let’s get back to civilization. This
time we want to show that two or three
years have passed since John wed Betty
in the previous sequence, and that the
edge of the marriage is becoming pretty
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MAIN TITLES • FADES • DISSOLVES • WIPES • SUPERIMPOSURES
OPTICAL EFFECTS MATTES • INSERTS BLACK and WHITE
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HOLLYWOOD, CALIF. •
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American Cinematocrapher
October, 1955
605
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Synchronous Motor Drive for
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Also available on special order. Synch. Motor
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DESIGNERS AND MANUFACTURERS OF
MOTION PICTURE — TV EQUIPMENT
blunted. The precise length of this per¬
iod, if it is essential to the situation, can
be worked into the dialogue later on
quite easily. (“Two years of waiting on
you has been quite long enough!”) Our
problem is to find a quick and appropri¬
ate method of linking the wedding with
a squabble.
If we think about the principal attri¬
butes of every wedding, we may find
a tie-up with the future. The bride’s
dress. H’m. The associations are a bit
over-sentimental, perhaps; and the re¬
sult would seem somewhat corny. The
wedding gifts? There’s plenty of scope
here to fade from present to future with
one of the gifts worn or battered through
use. But w'hich gift would sugget the
deterioration of the marriage by its con¬
dition ?
There’s also the wedding cake. This
might be the answer. We could fade
from the bride cutting the cake (C. U. of
knife slicing into cake) to a C. U. of
a slice being unwrapped from its decor¬
ative paper and ribbon by a pair of
trembling hands. The wife looks at her
souvenir nostalgically, bites her lip and
suddenly stiffens as her husband calls
brusquely from the next room. She re¬
Anscochrome Notv
Ansco’s new high-speed color film,
Anscochrome, is now being supplied
for the first time in 16mm daylight type
motion picture film, thus welcoming the
movie makers of this nation into the
new, fast, color photography fraternity.
Anscochrome movie film has an
A.S.A. exposure index of 32 (more than
three times as fast as previous cine color
films) . It is supplied in 50 foot maga¬
zines and 100-foot rolls.
Availability of this excellent fast new
reversal color material will mean a
minor revolution in 16mm cine circles,
since it will open new, undreamed of,
opportunities for movie making of a
quality not attainable with the slower
motion picture color films.
Anscochrome film, because of its high
speed, allows for better pictures in dim¬
mer light, while at the same time per¬
mitting use of smaller lens openings for
greater depth of field. This will be ap¬
preciated particularly in closeups (such
as flower studies), or when using long
focus lenses.
The new film's high speed also allows
a wider variety of subjects and action
to be shot in slow motion at high frame
speeds.
Anscochrome, already well established
in the still films field, has a wide expo-
turns the slice to its hiding place and
hurries through the door.
The romantic association of the cake
contrasts with the nervousness of the
wife and the curtness of the husband.
Time must have passed; just how long
the ensuing dialogue will tell. But al¬
ready our audience knows that things
are going unhappily; already they are
more sympathetically disposed towards
the wife than the husband.
Two months; two years; how about
two hours? I’ve already recommended
no smoking, no drinking and no eating.
To these I’ll add no burning candles, no
dripping taps and no chiming clocks.
Let’s try a tough one. Bill accidentally
locks himself in a cupboard with an
automatic lock. He hasn’t got a watch,
and there’s nothing inside the cupboard
to indicate passing time. Yet we want to
show that he’s in there for a consider¬
able time. ^ hen he’s let out, his natural
reaction would be to bellow, “What s
the time?” and then yell, “Hell, I ve
been in there for two hours!” so once
again dialogue will establish the details
of the time.
But it’s still up to us to show that
Bill’s in the cupboard more than half-
an-hour and less than half-a-day. If we
show him dozing off and dissolve to
Available In 16mm
sure latitude, unusually high color fidel¬
ity through the complete tonal range
from brilliant highlights to deepest sha¬
dow areas. The pictures get uniformly
darker as exposure is decreased; uni¬
formly lighter as exposure is increased;
there is no shift in the color balance.
This phenomenon is called “color curve
conformity”.
Thanks to manufacturing innovations,
new high speed Anscochrome renders
red tones in their true-to-life shades,
brilliantly saturated and perfectly re¬
corded. Reds have always been a diffi¬
cult color to reproduce accurately. The
new Anscochrome records reds with
high fidelity to the original.
With all its brilliance, new Ansco¬
chrome film still has a soft scale of grad¬
ation, with delicate rendition of flesh
and sky tones. Anscochrome gives nat¬
ural, true color screen images with de¬
tail in shadow areas and extended range
into brilliant highlight colors.
Prices of daylight type 16mm Ansco¬
chrome cine film are: 50 foot magazines
$6.95, 100 foot rolls $10.40.
Processing is included in the purchase
price and may be done at the Ansco
Color Laboratories listed in the instruc¬
tion sheet supplied with each film pack¬
age. Exposure information is also given
in the instruction sheet.
606
American Cinematographer
October, 1955
him waking, there’s nothing to indicate
that he’s been asleep for more than five
minutes. Obviously we’ve got to come
outside the cupboard to look for an ap¬
proximate time indicator.
Bill’s dog can help us. He knows
where Bill is, and starts snuffling at the
cupboard door. He begins to whine, and
eventually scratches at the door. Dis¬
solve to the corner of the door covered
with scratches. Hardly a speck of paint
remains. Pan to the dog, curled up
asleep alongside.
Although it’s taken some time for
the dog to do that door such damage,
lie’s apparently not yet hungry enough
to leave the cupboard to look for food.
So not many hours have passed. About
two, perhaps?
To sum up the lessons these three
examples offer: examine the situations
both before and after the time lapse;
search for a common factor which the
passage of time will have affected ; and
check that it fits the circumstances na¬
turally. Remember, time can pass quick¬
ly for the film maker, but it’s up to him
how gracefully it flies.
FILMING THE BIRTH OF
A NEW AUTOMOBILE
(Continutil from Page 595)
tended, the “star” — -the single prototype
model of the new luxury car that was
then available — had many other things
to do besides appear before the cam¬
eras.
The Wolff Studios task force, Camera¬
man Arthur Treutelaar, Director James
Moore, Production Manager Wallace
Stanford, studio vice-president MacDon-
old MacPherson, who wrote the script,
and a crew of ten, began operations in
Dearborn in March. The last shot for
the 15-minute sound-and-color motion
picture was not to be wrapped up until
three months later.
Three years of intensive work, and
many more years of intensive prelimin¬
ary planning by Ford engineers, design¬
ers and management, headed by William
Clay Ford, president of the Continental
division, had gone into the making of
the prototype. But before consumer pro¬
duction would be launched, it still had
to undergo exhaustive tests. And above
all, it must not be seen in public at this
time if it could possibly be prevented.
Under these time requirements for
testing, the film crew came face-to-face
with the catch-as-catch-can prophecy; the
need to keep the car from public view —
an element the moviemakers hadn’t fully
appreciated — provided the cloak-and-
dagger aura.
When the car could be “borrowed”
for photography away from the plant, it
first had to undergo masking operations
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American Cinematographer
October. 1955
607
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Permits continuous 400 ft. run of 16mm film —
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ORIGINATORS OF EFFECT FILTERS
P.O. Box 46834, Hollywood 46, Calif.
— all its insignia and trim blacked-out
with tape, its special chromium wheel-
disks removed — for its trip to the shoot¬
ing site. Disguising and undisguising
took up most of the time the car was
available; as a result, five minutes came
to he figured as a good “shooting day/'
As this sort of schedule rapidly be¬
came impossible if this picture was to
he completed before Mark II Continen¬
tals became the classics of their prede¬
cessors, a new idea was evolved. Testing
departments usually finished with the
prototype at midnight, didn’t need it
again until 9 the following morning.
Why not drive the car, unmasked, at
night, so it would be ready for the cam¬
eras at the chosen spot with the first
light of day? This worked pretty well,
although time was often lost when the
rendezvous was changed because of traf¬
fic conditions. On these occasions “spe¬
cial agents” — company public relations
men who had missed a lot of sleep—
would be on hand to direct the movie
people to the new location.
But even this system met with a sud¬
den halt- — at a moment when sighs of re¬
lief were being drawn following the an¬
nouncement that a second prototype
would be completed within a few days.
For two cars should mean that one would
be always available for the cameras.
There was to be a final midnight drive-
away of the original car — then, presum¬
ably, the studio people could settle down
to a more normal operation. But some¬
thing happened.
As the prototype pulled up for a stop
signal enroute to the rendezvous, it was
plowed into by a truck and rendered
hors de combat and hors de photogra¬
phy. So when Prototype #2 was com¬
pleted there was still only one car — and
Ford executives rightly would not risk it
in further night-time adventures.
But one minute here, five minutes
there, a coperative company, a deter¬
mined movie crew, and 90 days of eateh-
as-catch-can shooting finally produced
the desired result.
The film “Continental” was ready in
time for the announcement of the car.
Continental.
PREPARATION OF 16mm PRINTING LEADERS
(Continued from Page 586)
by boxing off the frame with an ink line
and making a large X covering the en¬
tire frame, and placing a punch mark
in the middle of the frame. Now meas¬
ure off four more feet of additional
white leader and then cut off the excess
at the ends.
Next, proceed with identification of
the leaders. In order to identify the
leaders properly, the white leaders
should be placed across the table in
front of you. emulsion up, so that the
ends of the white leaders will be on your
right. It is recommended that all iden¬
tification be placed on the leaders so
that if the original film is held in the
left hand, head out, and emulsion out,
you can, with your right hand, pull off
a foot or two of the leader and read the
identification from left to right, right
side up, when the emulsion is toward
you. The leader identification on the
print could also be read correctly when
standing in the projectionist’s position in
front of a standard projector merely by
pulling off several feet of the film from
the supply reel.
Identification marks on the leaders
should be made with a quick drying
India ink and on the emulsion side. It
is suggested that the word “Head” be
placed at the end of the white leader.
(Fig. 1.) To the left of this we suggest
that you write the type of film and roll
identification, such as “Original Koda-
chrome, A Roll.” To the left preceding
this, we suggest that you write the title,
producer's name and the footage. It is
recommended that the footage figure
used here be measured from the head
printer mark to the tail printer sync
mark. This is not the hilling footage,
for to this figure must be added the
footage used for head and tail printer
thread-up. All footage measurements
referring to special effects, timing notes,
reprints, etc., should be made from the
head printer start marks on the picture
rolls.
Similar identification should he
marked on the remaining picture leader
and on the track leader. We suggest the
track read “Head,” type of track such as
"Direct Positive” or “Track Print,”
“Title,” “Producer’s Name” and “Foot¬
age.” It is suggested that the start mark
be identified in large letters by writing
the word “Printer” to the left of the
frame and the word “Start” to the rig ht.
It is suggested that, in the 25 frames of
picture leader between the editorial sync
mark and the projection sync mark,
should be placed all the identification
that is required to be printed through to
the final print, such as the “Name of the
Show.” “Producer’s Name,” and “Screen
Time.”
This completes the preparation of the
Head Leaders.
Tail Leaders: Now to prepare the tail
leaders. Splice approximately a 21/2‘foot
piece of black leader to a 6-foot piece of
white leader for each roll, as recom¬
mended for the head leaders. Place
608
American Cinematographer
October. 1 955
NOW!
With Provision for Standard
lOV-z-Inch 16mm Reels
these leaders in the synchronizer so that
the splices are opposite each other. Roll
forward into the black leader two feet
and make crayon marks to indicate
where the black leader will be spliced
to the picture and sound rolls. Turn the
synchronizer back so that the splices are
again opposite each other. Then meas¬
ure into the white leader exactly one
foot and establish the editorial sync
marks. This is done by placing three
small x’s lengthwise in a frame of the
track and three round dots in the cor¬
responding frame of the picture leaders.
Now in the one foot of the white leader
on the picture rolls between the editorial
sync mark and the black leader we
should establish our projection syn¬
chronization marks. This is done by
counting 26 frames from the editorial
picture sync mark forward toward the
black leader. Start counting the frame
next to the editorial sync mark as num¬
ber one, then on the 26th frame place
two large X's crosswise in the film to
indicate the projection sync mark. (See
Fig. 2.)
There should be 25 blank frames be¬
tween the editorial sync mark and the
projection sync mark. Now the frame
with the small x’s in the track is ad¬
vanced in the synchronizer to a position
opposite the frame with the two large
X's in the picture, and the rolls are now
in “projection” synchronization. With
the rolls in this position, measure down
two feet from the editorial sync marks
toward the end of the leader and estab¬
lish tail printer sync marks. This frame
should be marked off the same as in the
head leaders, but it is not recommended
that the frame be punched nor identi¬
fied except by the lab itself. In tbe event
the rolls are being printed from the tail,
it would, of course, be necessary to
punch these frames and identify with
the words “Printer Start.” Now meas¬
ure two more feet of white leader and
make crayon marks on all leaders. Re¬
move the leaders from the synchronizer
and splice two feet of black leader to
each of the leaders at the point marked
with the crayon. As recommended
earlier, use single-perforated leader for
the track and double-perforated leader
for the picture. The two feet of black
leader at the end of the white leader is
used to indicate the tail of the show.
Whenever black leader is on the outside
of the roll, the roll is then “Tail Out.”
Identification marking of the tail lead¬
ers should now be done. The informa¬
tion to be printed through to the print
should be placed in the blank 25 frames
on one of the picture rolls between the
editorial and projection sync marks.
The other identification should be placed
in the white leader adjacent to the two
feet of black leader at the tail.
You will note that the track and pic-
All the superior features of the
KINEVOX Synchronous Magnetic Film Recorder ,
plus the added advantage of easily-attached
extension arms for standard 1 6mm reels ,
available as extra equipment ,
at a nominal price.
KINEVOX
INC.
116 S. HOLLYWOOD WAY
BURBANK, CALIFORNIA
Telephone: Victoria 9-3291
A Collector’s Item . . .
Cinematographic Annual
Published in 1930, a limited number of the original editions of this valuable technical book
are available to cinematographers, movie amateurs, schools and public libraries.
600 PAGES OF TECHNICAL ARTICLES
Printed on fine book paper, containing hundreds of photographic illustrations, and bound in
blue leatherette, this book could not be produced today for anywhere near the price asked.
PRICE $1.00 POSTPAID
AMERICAN SOCIETY OF CINEMATOGRAPHERS
1782 NORTH ORANGE DRIVE • HOLLYWOOD 28, CALIF.
£★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★★ ■
American Cinematographer
October, 1955
609
now available for splicing
all kinds of safety film,
picture, Magnetic film and
Cronar base.
• NO CEMENT
• NO LOST PICTURE
• NO SCRAPING
in 10 Seconds!
ture leaders will be slightly different in
length. This is accounted for by the 26
frame advance for sound.
Splicing Leaders to the Roll: Place
the matched A&B original picture rolls,
emulsion up, in the synchronizer with
the accompanying sound track in edi¬
torial (even) sync. Turn the rolls in the
synchronizer to a point a few frames in
advance of the first picture or sound,
whichever occurs first. Make marks on
corresponding frames on all rolls at this
point and then splice on the head lead¬
ers at the indicated marks. The head
leader identified as “A Roll'’ should be
spliced onto the roll that has the first
frame of picture. Roll down to the end
of the film to the last picture or sound
frame, whichever occurs last. A few
frames beyond this point, make marks
on all the rolls and splice on the tail
leaders at this point.
Preparing standard leaders in ad¬
vance and then splicing them to the rolls
when the rolls are in editorial synchroni¬
zation practically eliminates the possi¬
bility of error, either by the editorial
department or by the lab.
It is recommended that the use of the
old so-called “Academy Leader” be dis¬
continued. If the film is to be used on
television, or if the client wishes to have
leaders with cue numbers, then it is
recommended that the SMPTE “Society
Leader” be used. The Society Leader
will then, of course, precede the picture
and the two feet of black leader will not
he necessary. END.
CINEMASCOPE ON 55mm FILM
( Continued from Page 583 )
Check these advantages:
• Splices neg or print with no
picture loss
• A film fusion (butt-weld), end-
to-end, No Double Thickness
• No drying, no overlap
• No light required
Literature and sample splice
on request!
PRESTO SEAL £
3727 33rd st., Long Island City l.N.Y.
Video Film Laboratories
is now located at
350 West 50th Street
New York 19, N. Y.
TELEPHONE: JUdson 6-7196
*
Complete 16mm laboratory service
for Producers using the
Reversal Process
Also 16mm Negative and Positive
developing.
★
WRITE FOR PRICE LIST
Established 1949
To Classified Advertisers
Copy deadline for classified advertising is the
15th of month preceding publication date. Mail
copy and remittance to cover cost to
AMERICAN CINEMATOGRAPHER
1782 No. Orange Dr., Hollywood 28, Calif.
55mm camera does not mean that our
35mm cameras are to be discontinued.
“Nor will our swing to production on
55mm film affect the more than 30,000
CinemaScope installations in theatres
throughout the world. On the contrary,
use of the new camera and larger nega¬
tive will result in a great increase in
the pictorial quality of our productions,
when the 55mm negative is reduced to
35mm for projection in conventional
CinemaScope theatres.
“While some ‘showcase’ theatres will
be equipped with 55mm projectors and
custom-tailored screens, plus additional
sound equipment to utilize a newly-
developed seven-track stereophonic sound
system, this will be for the purpose of
obtaining the ultimate in theatre pres¬
entation. The screen aspect ratio will
remain unchanged.
“Twentieth Century-Fox regards the
present ratio of 2.55-to-l as eminently
satisfactory for viewing, audience par¬
ticipation and story-telling purposes.
When the new seven-track stereophonic
eventually all wide-screen motion pic¬
ture production, however photographed,
will revert back to 35mm for release
prints.
The Tushinsky brothers have de¬
signed a system of lenses that can be in¬
stalled on a printer to take any nega¬
tive and print it in any aspect ratio
within 35mm limitations. The process
will turn out anamorphic prints from a
straight 35mm negative as well as from
double-frame negatives or any large-
area negative of the future. It is gen-
sound system is made available, the only
expense involved to theatre owners will
be a minor cost for new projector heads
and for additional speakers back of the
screen.
“The new seven-track stereophonic
sound system will utilize five horns
placed in pre-determined positions be¬
hind the screen. Of the remaining two
tracks, one will serve as a control track
and the other a special sound speaker.”
Whereas present CinemaScope equip¬
ment has greatly improved the viewing
of pictures in theatres from any position,
the new lenses and wide film that will
he used in exhibiting films in the road
show houses, Halprin said, will show
another great improvement in definition
and depth, and will make it possible to
view the screen in comfort from any
seat in the house, including the front
row.
“It will bring audiences the nearest
thing to stereoscopic viewing so far
achieved without the need for viewing
glasses,” Halprin concluded.
erally conceded that for wide-screen pre¬
sentation, anomorphic prints possess
unique and definite advantages which
could be the subject of a complete ar¬
ticle by itself.
After an extensive survey of the phy¬
sical limitations of theatres throughout
the country, the developers of Super¬
scope decided that an aspect ratio of
2-to-l is the most ideal. This fitted per¬
fectly into their plans for producing an¬
amorphic prints from 35mm negatives,
Irvins Tushinsky savs, because it al-
THE SUPERSCOPE PROCESS
(Continued from Page 591)
610
American Cinematographer
October, 1955
PRECISION SOUND READERS
FEATURES: Simple threading . . . polished stabilizer
drum with needle bearings, with a surface which
cannot damage film . . . film rollers machined to con¬
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6x6x7 '/2 inches.
AMPLIFIER: 117 volt — 60 cycle — AC . . . power
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It is your guarantee
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OPTICAL-MAGNETIC
All Prices F. O. B. Factory, Brooklyn, New York
Model 800.. 16mm, 35mm & Vi inch
NET PRICE $259.50
Write for Literature
PRECISION LABORATORIES
1130 UTICA AVENUE • BROOKLYN 3, NEW YORK
OPTICAL
Model 600 . 16mm and 35mm
NET PRICE $135.00
MAGNETIC
Model 700 . 16mm, 17.5mm, 35mm
and Vi inch
NET PRICE $198.00
lowed them to use the full width of the
negative area and also to use a vertical
dimension that is well within the stand¬
ard practice of good photography.
One of the bugaboos encountered in
working with wide-screen is the problem
of retention of depth of field. This long
has been a stumbling block to lens de¬
signers because it demands a compro¬
mise with quality in designing a lens
that will have increased light-gathering
potentials and the ability to cover wide
areas.
In photography, when the camera is
placed close to a subject, there is alarm¬
ing drop-off of depth of field, which can
only be minimized by stopping down
the lens. This in turn means using more
light, thus increasing production costs.
In shooting for Superscope, using
normal camera procedure we are able to
pull back so that the amount of vertical
coverage is reduced to conform with the
aspect ratio of the release print (crop¬
ping top and bottom of the finder image
as shown in Fig. 2, Page 591). This
amounts to a dimension of .490" of
vertical height in the negative area.
Depth of field is also increased without
need for raising the set lighting level.
I should like to emphasize here that
shooting for Superscope does not involve
any costly accoutrements nor require
increased light levels in set illumination.
However, there is always the important
TAYLOR- HOBSON
for
checking
lens
accuracy . . .
The Camera Focus Auto-Collimator enables the Camera Operator
to carry, as an entirely self-contained and self-checking unit, an
instrument to set the camera lens in a focus at infinity. Thus any
Cameraman can check, instantly, the accuracy of the infinity scaling
of any lens in use, by means of this instrument. THERE IS NO
NEED TO SHOOT, DEVELOP, AND SCREEN TEST FILMS— THE AUTO¬
COLLIMATOR DOES IT ALL — INSTANTANEOUSLY.
It is impossible to exaggerate the value of this instrument to the
Camera Operator — its small size, accuracy, light weight, easy
portability, and above all, its simplicity of manipulation make
it an absolute “must" for every Camera Department.
BENJAMIN BERG CO.
1410 NORTH VAN NESS AVENUE • HOLLYWOOD 28, CALIF.
$375.00 nei
F.O.B. Hollywood
* 611
American Cinematockapher
October, 1955
THE SUPERSCOPE PROCESS
(Continued from Page 611)
It's easy with the
MERCER FILM PATCH
Descriptive Chart & Price List
Mailed on Request
R.C. MERCER & COMPANY
4241 Normal Ave., Holywood 29, Calif.
MOrmandy 3-9331
MOVIOLA
FILM EDITING
EQUIPMENT
19MM - 3 5 MM
• PICTURE
SOUND
Photo and
Magnetic
• SYNCHRO¬
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• REWINDERS
One of the
new series 20
Moviolas for
picture and
sound.
Write ftr
Calais gut
MOVIOLA MANUFACTURING CO.
1451 Gordon St. • Hollywood 28, Calif.
RUBY CAMERA EXCHANGE
I
Rents . . . Sells . . . Exchanges
Everything You Need for the
Production & Projection
of Motion Pictures Provided
by a Veteran Organization
of Specialists
35 mm . 16 mm.
Television
IN BUSINESS SINCE 1910
729 Seventh Ave., New York 1 9, N. Y.
Tel.: Circle 5-5640
Cable address: RUBYCAM
consideration in any wide-screen pre¬
sentation that the photography be sharp
and exposure correct for laboratory re¬
quirements. Use of only the very best
of lenses on the camera and careful at¬
tention to focusing and exposure are
therefore paramount factors.
Being able to shoot with the conven¬
tional Mitchell camera, we retain all the
conveniences of camera mobility that
cameramen have become accustomed to
over the years. In other words, in the
course of a day’s shooting and using a
normal complement of standard lenses,
we are able to move the camera during
a shot without any limitations whatever
imposed by the Superscope process. The
mobile camera is still considered one of
the director’s most important cinematic
tools. The Tushinsky’s Superscope pro¬
cess puts no restrictions on this mobili¬
ty in the production of wide-screen pic¬
tures.
The editing of the “Glory” negative
for the Superscope process was done
with conventional equipment and by fol¬
lowing the same procedure that has be¬
come standard in Hollywood over the
years. After the negative was edited, it
was sent to Technicolor Corporation
where the .490" x .980" picture area
was converted to an anamorphic print
with a “squeezed” picture area of
.715" x .715". (See film reproductions
on Page 591.) These anamorphic prints
can be projected in theatres, using Cine-
maScope or Superscope projection
lenses, or any other anamorphic projec¬
tion lens now in use.
ANIMATION IN PRODUCTION OF TV FILMS
(Continued from Page 589 )
turned out, Chad cut production time
to 4 months. Ink and paint work was
reduced to a minimum. Backgrounds
were designed to permit maximum use
of camera pans and cutout models. Cer¬
tain ideas were put across graphically
through highly stylized characters. An
example of this involved a skunk char¬
acter that symbolized the foul smell
given off by cheap competitive gaso¬
lines. An animation sequence pictured
a feminine driver filling up at a pump
bearing the skunk label, then the skunk
rode the back seat of the car all the way
home and finally set up permanent
quarters in the family garage.
Still another interesting thing accom¬
plished in this film involved camera
shots to match a word story describing
Gulf’s super-refining process that elimi¬
nates the impurities which otherwise
leave deposits in high-compression en¬
gines. A long vertical cel was used, and
on it a stream of oil flowed downward
with several twists and turns. The stream
was broad at the top and narrow at the
bottom; so, by panning the camera
north to south and using multi-cel ani¬
mation the effect was exceptionally real¬
istic.
Dissolves, wipes, zooms and pop-ons
were used in the transitions from cel
to cel as the discussion covered cylinder
combustion, quick starting, fuel-saving
Telephoto Shots With Binoculars
BINOCULARS serve dual purpose in this adaptation of an old movie amateur idea. Bushnell
Bino-Photo Unit facilitates mounting binoculas before movie or still camera lenses for mak¬
ing telephoto shots. One side of glasses serves as finder. Special bracket holds glasses in
correct position, properly centered for distortionless results. Camera lens power is multiplied
700 times. Normal Vi-inch 8 mm camera lens becomes 3 Vi-inch lens; normal 1-inch 16mm
camera lens, a 7-inch telephoto. When binoculars are needed, simply detach from camera.
612
American Cinematographer
October, 1955
Film Editing Made Easy
with NEW
professional
film viewer
for 16mm film
Every film editor will appreciate a
viewer that enables him to view
his film from left to right — on a large,
brilliantly illuminated screen.
The Professional Film Viewer
makes film editing a breeze. Easy
threading, portable, will not
scratch film. Put this viewer between
your rewinders and speed up your
editing. Size of Viewing Screen 6"x 4".
Price — $350
Counter additional $100
(jRmcRfl €ouipm€n.T (6.
DEPT. A-10-4 1600 BROADWAY, NEW YORK CITY
warm-up, extra gas mileage, and stop-
and-go around-town cruising. Cel draw¬
ings for these important points showed
respectively a cross-section of a cylin¬
der, a car zipping away from a filling
station, a close-up of speedometer show¬
ing pointer rising rapidly, a close-up of
fuel gauge showing pointer at full, and
close-up of stop light changing from red
to green.
The film also described certain so-
called nightmares: carburetor icing,
vapor lock, corrosion, and obnoxious
odor. The four nightmares were first
pictured as horses with hooded riders
and moving through the clouds. Then,
as the troublesome subjects were treated
individually, each horse was shown in
clouds of different colors — blue for car¬
buretor icing, red for vapor lock, rust
for corrosion, and black for odor.
Since the installation of the Oxberry
equipment, the Chad organization has
employed multiplane techniques in com¬
bination with stop-motion to produce
exceptional three-dimensional animated
effects. Multiplane technique permits use
of as many as six planes of pictorial
matter — some supported above the com¬
pound table on wood, others on glass.
An example of how this technique is
successfully employed is a 60-second
TV commercial which the company re¬
cently produced for Nucoa Margarine.
(Continued on Page 618 )
EVERYTHING P
EASTERN PRODUC
-LIGHTING-
GRIP EQUIPMENT
PROPS - GENERATOI
DOLLIES - MICROPHONE I
(Catalogs Upon Request)
333 WEST 52nd ST
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American Cinematographer
October, 1955
613
HOLLYWOOD STODIO PRODUCTION
Feature and television film productions for which members of the American Society of
Cinematographers were engaged as Directors of Photography during the past month.
AMERICAN SOCIETY
OF CINEMATOGRAPHERS
•
Arthur Miller, President
Sol Halprin, First Vice-President
William Skall, Second Vice-President
Alfred Gilks, Third Vice-President
Walter Strenge, Treasurer
Charles G. Clarke, Secretary
Robert de Grasse, Sergeant-At-Arms
BOARD OF GOVERNORS
Joseph Biroc
George Folsey
Burnett Guffey
Winton Hoch
Hal Mohr
Ray Rannahan
Leon Shamroy
Philip Tannura
ALLIED ARTISTS
• Ellsworth Fredericks, “The Friendly
Persuasion,” (Eastman Color, Wide-screen)
with Gary Cooper, Dorothy McGuire, Mar¬
jorie Main. William Wyler, producer-director.
• Frederick Gately, “The Four Seasons,”
(Color, Wide-screen) with David Wayne,
Keenan Wynn, James Barton, Jim Backus,
Myrna Dell. Josef Shaftel, producer-director.
COLUMBIA
• Ray June, “Tambourine,” (Technicolor,
CinemaScope) with Jane Russell, Cornel
Wilde, Luther Adler, Joseph Calleia, James
Russell. Nicholas Ray, director.
• Charles Lawton, “Jubal Troop,” (Tech¬
nicolor; CinemaScope) with Glenn Ford. Ern¬
est Borgnine, Rod Steiger, Valerie French,
Felicia Farr, Basil Ruysdael, Noah Berry Jr.,
Delmer Daves, director.
• Harrry Stradling, “The Eddie Duchin
Storv.” (Technicolor; CinemaScope) with Ty¬
rone Power, Kim Novak, James Whitmore, Rex
Thompson. George Sidney, director.
• Charles Lang, Jr.. “The Way We Are,”
(Wm. Goetz Prod.) with Joan Crawford, Cliff
Robertson, Vera Miles, Lorna Greene, and
Ruth Donnelly. Robert Aldrich, director.
• Burnett Guffey, “Storm Center,” with
Bette Davis, Kim Hunter, Brian Keith, Joe
Mantell, Paul Kelly. Dan Taradash, director.
METRO-GOLDWYN-MAYER
• Arthur Arling, “I’ll Cry Tomorrow,” with
Susan Hayward, Rihard Conte, Eddie Albert,
Don Taylor, Jo Van Fleet. Daniel Mann, di¬
rector.
• Russell Harlan, “The Last Hunt,” (East¬
man Color; CinemaScope) with Robert Tay¬
lor, Stewart Granger, Lloyd Nolan. Richard
Brooks, director.
• Robert Surtees, “Tribute To A Bad Man,”
(Eastman Color; CinemaScope) with James
Cagney, Stephen McNally, Irene Papas, Don
Dubbins. Robert Wise, director.
® Robert Planck, “Gaby,” (Eastman Color,
CinemaScope) with Leslie Caron, John Kerr,
Sir Cedric Hardwicke, Taina Elg, and Mar-
galo Gilmore. Curtis Bernhardt, director.
• Arthur Arling, “Fearful Decision,” (Wide-
Screen) with Glenn Ford, Donna Reed, Les¬
lie Nielsen, Juano Hernandez, Robert Keith.
Alex Segal, director.
• Joseph Ruttenberg, “The Swan,” (East¬
man Color, CinemaScope) with Grace Kelly,
Alec Guiness, Louis Jourdan, Brian Ahern,
Agnes Moorhead. Charles Vidor, director.
PARAMOUNT
• Loyal Griggs, Wallace Kelley, Peverell
Marley, “The Ten Commandments,” (Vista-
Vision, Technicolor), with Charlton Heston,
Anne Baxter, Yul Brynner, et al. Cecil B. De
Mille, director.
• Daniel Fapp. “The Birds and the Bees,”
(Technicolor, VistaVision) , with George Go-
bel, Mitzi Gaynor. Norman Taurog, director.
• Franz Planer. “The Mountain,” (Techni¬
color, VistaVision) with Spencer Tracy, Rob¬
ert Wagner, Claire Trevor, Richard Arlen,
William Demarest. Producer-director, Edward
Dmytryk.
• Loyal Griggs, “That Certain Feeling,”
(Technicolor, VistaVision) with Boh Hope,
George Sanders, Eva Marie Saint, Pearl
Bailey, David Lewis and Al Capp. Producers-
directors, Norman Panama and Melvin Frank.
R.K.O. -RADIO
• William Snyder, “Great Day In The Morn¬
ing,” (Technocolor; Superscope) with Robert
Stack, Virginia Mayo, Ruth Roman, Alex
Nicol, Raymond Burr. Jacques Tourneur, di¬
rector.
TWENTIETH CENTURY-FOX
• Leon Shamroy, “Good Morning, Miss
Dove,” (Color; CinemaScope) with Jennifer
Jones, Robert Stack, Kipp Hamilton, Robert
Douglas, Peggy Knudson, Biff Elliott, Mary
Wickes, Chuck Connors. Henry Koster, di¬
rector.
® Milton Krasner, “Rains of Ranchipur,”
(Color; CinemaSope) with Lana Turner, Rich¬
ard Burton, Fred MacMurray, Joan Caulfield,
Michael Rennie, Paul H. Frees. Jean Negu-
lesco, director.
• Charles Clarke, “Carousel,” (Color; Cine¬
maScope) with Frank Sinatra, Shirley Jones,
Barbara Ruick, Cameron Mitchell, Claramae
Turner, Audrie Christie, Robert Rounseville.
Henry King, director.
• Leo Tover, “The Lieutenant Wore Skirts,”
(Color; CinemaScope) with Tom Ewell,
Sheree North, Les Tremayne. Frank Tashlin,
director.
• Joe MacDonald, “Threshold of Space,"
with Guy Madison, John Hodiak, Virginia
Leith, Dean Jagger and Warren Stevens. Rob¬
ert Webb, director.
® Lee Garmes, “Bottom of the Bottle,” (Color,
CinemaScope) with Van Johnson, Joseph Cot¬
ton, Ruth Roman, Jack Carson, Brad Dexter.
Henry Hathaway, director.
UNIVERSAL-INTERNATIONAL
• Harold Lipstein, “Pillars in the Sky,”
(Technicolor; CinemaScope) with Jeff Chand¬
ler, Dorothy Malone, Keith Andes, Ward Bond.
George Marshall, director.
WARNER BROTHERS
• William Mellor, “Giant,” ( Warnercolor)
with Elizabeth Taylor, Rock Hudson, James
Dean, Jane Withers. George Stevens, director.
• Sam Leavitt, “The Court-Martial of Billy
Mitchell,” (Warnercolor, CinemaScope), with
Gary Cooper, Ralph Bellamy, Fred Clark,
Herbert Heyes. Otto Preminger, director.
• Edwin DuPar, “The Lone Ranger,” (War¬
ner-Color) with Clayton Moore, Jay Silver-
heels, Bonita Granville, Lyle Bettger, Robert
Wilke, Perry Lopez, and Michael Ansara.
Stuart Heisler, director.
• Irving Glassberg, “Gun Shy,” with Jock
Mahoney, Martha Heyer, Lyle Bettger, Ted
de Corsia. Charles Haas, director.
• Russell Metty, “Congo Crossing,” (Tech¬
nicolor) with Virginia Mayo, George Nader,
Peter Lorre and Michael Pate. Joseph Pev-
ney, director.
• Joseph LaShelle, “Our Miss Brooks,”
with Eve Arden, Robert Rockwell, Jane Mor¬
gan, Gale Gordon, Gloria McMillan, Richard
Crenna. Al Lewis, director.
• Hans Koenekamp, “The Old Man of the
Sea,” (Warner Color, CinemaScope) with
Spencer Tracy.
• J. Peverel Marley, “Serende,” (Warner-
Color) with Mario Lanza, Joan Fontaine,
Sarita Montiel, and Vincent Price. Anthony
Mann, director.
• Hal Rosson, “The Bad Seed” with Nancy
Kelly, Patty McCormack, William Hopper,
Evelyn Varden, Mervyn LeRoy, producer-
director.
INDEPENDENT
• Lionel Lindon, “Around the World in 80
Days,” (Michael Todd Prods.; Todd-A-O)
with David Niven, Cantinflas, Luis Dominguin.
• Alan Stensvold, “Please Murder Me,”
( Gross-Krasne Prod.) with Angela Lansbury,
and Raymond Burr. Peter Godfrey, director.
• Charles Boyle, “The Great Locomotive
Chase,” (Technicolor, CinemaScope) with
Fess Barker, Jeff Hunter, Jeff York, John
Lupton, Claude Jarman. Francis D. Lyon,
director.
TELEVISION
(The following directors of photography
were active last month in photographing films
for television in Hollywood, or were on con¬
tract to direct the photography of television
films for the producers named.)
Floyd Crosby, “TV Reader’s Digest” (Al¬
pha ) .
Allan Stensvold, “Dr. Hudson's Secret Jour¬
nal (Author’s).
Karl Freund. “December Bride,” (Desilu),
“The Jimmy Durante Show” (Desilu), “I
Love Lucy” (Desilu).
Nick Musuraca, “The Lineup” (Desilu).
Robert DeGrasse, “Make Room For Daddy”
(Marterto-Desilu) , “It’s Always Jan” (Jan-
ard-Desilu) .
Harold Wellman, “Wyatt Earp” (616-Desi-
lu).
Walter Strenge, “This is the Life” (Family
Films) .
Virgil Miller, “You Bet Your Life” (Film-
craft).
Ernest Miller, “Gunsmoke” (Filmaster).
William Bradford, “Adventures of Cham¬
pion” ( Flying-A ) .
Lester White, “Navy Log” (Gallu).
614
American Cinematographer
October, 1955
• SIZE: 76"x50"x24"
• WEIGHT: Approx. 475 lbs.
WRITE FOR FULL DETAILS AND LITERATURE
MODEL R-15
REVERSAL FILM
PROCESSOR
Ideal for TV, Industry, Colleges
NEW EXCLUSIVE OVERDRIVE eliminates film
breakage, slack build-up, automatically compen¬
sates for film elongation.
NEW Design Concept! Units removable for clean¬
ing — eliminates maintenance.
NEW Simplicity of Operation!
NEW Complete Daylight Operation! No darkroom.
Removable daylight magazine.
NEW Quality Throughout! Heavy gauge stainless
steel tanks. Filtered air intake.
Filmline
Milford, Conn.
Stuart Thompson, “Lassie” (Maxwell).
Phil Tannura, “The Burns and Allen Show”
(McCadden ) .
Harry Wild, “Bob Cummings Show” (Mc¬
Cadden).
James Van Trees, “The People’s Choice”
(McCadden ) .
Henry Sharp, “Sheena, Queen of the Jungle”
(Nassour) .
Jack McKenzie, “Frontier” (Outpost).
Lucien Andriot, “It's A Great Life” ( Ray-
die).
Lathrop Worth, “The Great Gildersleeve”
( Roach ) .
Gilbert Warrenton, “Sergeant Preston of
the Yukon” (Skinner).
Lloyd Ahern, “My Friend Flieka” and "Caval¬
cade” (TCF).
Guy Roe, “Gangbusters” (Visual).
Kenneth Peach, “Fury” and “The Count
of Monte Cristo” (TPA).
Carl Guthrie, “Cheyenne” and “King’s Row”
(Warners) .
Harold Stine, “Casablanca” (Warners).
Harold Marzorati, “MGM Parade” (MGM).
Dan B. Clark, “People Are Funny” (Gue-
del ).
William A. Sickner, “Medic” (Medic).
Mack Stenci.er, “Ina Ray Hutton Show”
and "It’s Fun To Reduce” (Guild).
Norbert Brodine, “The Loretta Young Show”
(Lewislor).
CRAIG BIG SCREEN MOVIE VIEWER
No need to darken the room when
you use this brilliant big screen
Craig Movie Viewer. Ideal for
viewing or editing motion pictures
or TV films. Easily set up with
Craig or other standard rewind¬
ing equipment. Craig complete
editing equipment is made in two
models :
CRAIG PROJECTO-EDITOR— Portable
motion picture viewer and editing
outfit weighing 10y2 pounds. Con¬
sists of Craig Viewer illustrated
Write for illustrated literature, KAL
• Large (3V4 x 41/, in.) hooded screen
• Flat field projection lens and
ground & polished condenser lens
• Rotating optical prism shutter
• Stainless steel film guide
• Left to right film travel
• Automatic lamp switch
• Built-in frame marker
• Focusing and framing adjustments
• 75 watt projection lamp
*49.50 for 16 mm. or 8 mm. model
above, Take-up and Rewind Reel
Spindles, Craig Master Splicer,
Craig #7 Film Cement, and Carry¬
ing Case. 16 mm. or 8 mm. model,
$79.50 complete.
CRAIG PROFESSIONAL EDITING
EQU I PM ENT— Consists of Craig
Viewer, Craig Master Rewinds
which accept 2000 foot reels, Craig
Master Splicer, hardwood mount¬
ing board, and Craig Formula #7
Film Cement. 16 mm. model only,
$79.50 complete.
IT, PLAINVILLE, CONN. DEPT. AC-10
American Cinematographer
October, 1955
615
Automatic Daylight Processing
DEVELOPING TANK
• Processes up to 200 Ft.
• 8m m - 1 6mm -35mm
• Movie — X-Ray — Microfilm
• Motor driven portable
• Tough plastic tanks
• Uniform Density Assured
• 70mm tank also available
FILM DRYER
• Motor driven — Heated
• Speedy drying
• Automatic shrinkage allow¬
ance
• Stainless steel and
aluminum construction
• Easily assembled without
tools
• Compact, Portable
Guaranteed. Write for Free Literature.
Dept. AC
487 South Ave.
Beacon, N. Y.
Micro Record Corp.
■ ■ ■ ■ ■ i
PROCESSING
Reversal specialists tor over a decade.
Our long experience insures superior quality.
Electronically controlled machines keep tem¬
perature constant within .2 ot one degree.
National "Brilliantone" Cine prints are the finest
available. Write for free catalogue.
CONTACT PRINTING
WORK PRINTS
EDGE NUMBERING
All work vaporated at no extra charge
B A W DUPLICATING
KODACHROME DUPLICATING
VACUUMATING
NATIONAL CINE LAB
Box 4425
Washington 17, D. C.
AMERICAN
CINEMATOGRAPHER
HANDBOOK
for the
PROFESSIONAL and AMATEUR
by
JACKSON J. ROSE, ASC
New data on Cinerama - Tele¬
vision photography - Background
Projection - Zoom Lenses - Un¬
derwater Photography - Latensi-
fication - “T" Stops - Ansco
Color - Eastman Color - DuPont
Color - Cameras - Projectors -
Lenses - Filters - Charts - Tables
- Ratings - Diagrams - Systems -
Equalizers - Formulas, Etc.
THE ONLY HAND BOOK
OF ITS KIND
PRICE S EJ .00
(California buyers please add 18c sales tax)
Book Department,
American Cinematographer,
1782 No. Orange Dr.,
Hollywood 28, Calif.
Gentlemen: Enclosed please find $5.00* for
which please send me a copy of
THE AMERICAN CINEMATOGRAPHER HAND¬
BOOK AND REFERENCE GUIDE.
Name .
Address-
City . . Zone . State .
•If you live in California, please include 18c
sales tax — total $5.18.
BULLETIN BOARD
(Continued, from Page 576)
successors will continue to market and
service the Kinevox recorder and all
items of associated equipment, accord¬
ing to Roos.
• • •
Joseph Brun, A.S.C., now in Paris, has
been signed to direct the photography,
in Eastman Color and CinemaScope, of
an untitled feature for Lutetia Films to
be produced at Saint Maurice Studio.
Starred will be Brigitte Bardot, France’s
explosive new screen star.
• • •
Sam Leavitt, A.S.C., is teamed again
with producer-director Otto Preminger
for “The Man With The Golden Arm.’’
Picture went into production at RKO
Studio in Hollywood on September 23rd
and stars Frank Sinatra, Eleanor Parker
and Kim Novak. Feavitt directed the
photography of Preminger’s noteworthy
“Carmen Jones. ’
• • •
To Alfred Gilks, A.S.C., went the dis¬
tinction of being the cameraman selected
by the Screen Director’s Guild to direct
the photography of the Guild’s initial
television film production, “Meet The
Governor,” starring Herb Shriner.
• • •
Ray Foster, who was re admitted to
membership in the A.S.C. recently, has
been signed to direct the photography
of a series of 39 half-hour television
films. Last month he photographed a TV
pilot him for Stuart Hamblin for a pro¬
posed “Cowboy Church of the Air”
series.
WHAT’S NEW
( Continued from Page 570)
Anti-Glare Spray
Crescent Aquanon anti-glare spray
is a product of Crescent Portrait &
Frame Co., 14068 Euclid Ave., East
Cleveland 12, Ohio. Product is water-
soluble. It can be wiped off reflective
objects such as band instruments, plas¬
ties and jewelry after use, promising
motion picture and TV cameramen
quick, easy relief from troublesome
highlights.
Dispensed at the push of a button
from an aerosol self-spraying container,
product is non-inflamable. List price is
about $2.25 for a 12-oz. container.
Lens Converters
Eastman Kodak Company, Rochester,
N. Y., offers a line of telephoto and wide-
angle lens converters for use with both
the f/2.7 and f/1.9 Brownie Movie
Cameras.
Telephoto converter gives advantage
of an effective 24mm lens or approxi¬
mately a two times telephoto effect. The
wide-angle converter gives the advan¬
tage of an effective 9mm wide-angle
lens.
The converters are not interchange¬
able lenses, but are attached by the user
over the regular camera lens. List price
is $18.50 each.
DeLuxe Carrying Case
Just introduced and free to pur¬
chasers of Bell & Howell 8mm matched
camera sets is a new, sturdy carrying
case for cine equipment. Constructed of
durable, laminated plywood, new case
has mar-proof, scuff-resistant two-tone
wrinkle finish.
Fitted inside, as shown in cut, are a
Wilshire 8mm camera, a leather camera
case and a Bell & Howell light for indoor
movie making. A leather case in the lid
holds a 2!/2-X telephoto lens attach¬
ment, a filter holder and retaining ring.
Space is provided for two 50-foot rolls
of film. The complete outfit retails for
$89.85.
New Ownership For
Kinevox, Incorporated
James M. Johnson and F. Kirk John¬
son, of Ft. Worth, Texas, have pur¬
chased Kinevox, Inc. from Len and
Sylvia Roos. Company, which long has
manufactured a popular line of mag¬
netic recording equipment is to be ex¬
panded and firm name changed to Elec-
tromation Co., Inc.
Company will continue to manufac¬
ture and distribute Kinevox recorders
and associated equipment and already
has announced many improvements, in¬
cluding removable and interchangeable
set of reel or spool holders accommodat¬
ing up to 2000 feet of recording film.
616
American Cinematographer
October, 1955
CLASSIFIED ADVERTISING
RATES: Ads set in lightface type, 10c per word; minimum ad, $1.00.
Text set in lightface capital letters (except 1st word and advertiser’s
name) 15c per word. Modified display format (text set in boldface
type, capitals or upper-and-lower case) 90c per line. Send copy with
remittance to cover payment to Editorial Office, American Cinematog¬
rapher, 1782 No. Orange Drive, Hollywood 28, Calif. Forms close 15th
of month preceding date of issue. No discount on Classified Advertising.
STUDIO & PRODN. EQUIP.
FOR SALE
FOR SALE
30TH ANNIVERSARY— S.O.S. SALE OF SALES
MITCHELL 16 CAMERA w/3 Baltar Lenses;
2 — 400' magazines; 12V motor; 35mm
Mattebox sunshade; carrying cases. Barely
used . $2995.00
HOUSTON FEARLESS PERAMBULATOR DOLLY,
$2100 value . 1295.00
CAMERETTE 35mm REFLEX w/3 Kinoptik
Lenses; 3 magazines; battery motor; 1 1 0AC
motor; extension tubes; automatic focus
changer. Excellent . 2750.00
TIME LAPSE INTERVAL Meters for Bolex and
Cine Special, compl . 146.00
AKELEY AUDIO SOUND CAMERA, 6 fast
lenses; 3 magazines; motor; V.D. gal¬
vanometer; amplifier; 2-WE mikes,- cables
and cases. $9500 value . . . 4450.00
MIRACLE DURALUMIN FREEHEAD TRIPODS,
hydraulic tilt, smooth pan. Holds heavy
35mm cameras, Auricon 1200, Pro-600,
Maurer, Mitchell. Tubular locking legs.
$350 value, new . . . 119.50
AKELEY 35mm EDITING MACHINE, sound,
picture, preview. $3000 value . 1295.00
NEW FRESNEL STUDIO SPOTS, lead wires,
switch, pipe clamp.
2000 Watt . $59.95 50000 Watt . 99.95
10' TITLE ANIMATION STAND w/motorized
zoom and stop motion. Completely wired
with footswitches. Art table takes largest
work. $2500 value . 975. 00
DULLING SPRAY— SUBDUES HIGHLIGHTS from
shiny surfaces. Wipes off clean without
solvent.
12 oz. can . $1.95 Dozen lots . 1.35
BA RDW ELL- McALISTER MULTIPLE floodlites,
3 Quadruple heads to hold 12 bulbs on
rolling tripod stand. Orig. Gov t Cost $180.
Surplus . 29.50
BM QUADLITE Heads only $4.95. Stands only 19.95
B&H 16mm FILMO SPECIALIST CAMERA
w/racko ver, matte box, Mitchell type find¬
er; syncmotor,- 400' mag.; w/case. $2000
value . . 995.00
CUSTOM BLIMP for B&H 70D with sync motor 195.00
DUAL REKOKUT TRANSCRIPTION TURNTBALES
with Gray 16" pickups, on cabinet pedestal.
$500 value . . . . . 225.00
BRIDGAMATIC 216B NEG./POS. PROCESSOR,
1800' per hour, w/elevators; airpump, re¬
circulation, refrigeration. $4000 value . 1995.00
CINEX EXPOSURE TESTING MACHINES— used
by leading labs. Originally $4000.00. Re¬
built . 1995.00
DEPUE PICTURE REDUCTION PRINTER, 35/16
Optical. Rebuilt . 3995.00
NEW AMPRO PA-3 TRI-PURPOSE Amplifiers.
Maximum output 85 watts. List $278.00,
with tubes . 99.50
BERNDT-MAURER CAMERA w/finder; 3 lenses,-
4 — 400' magazines; sunshade,- 12V motor;
syncmotor; varispeed motor with tachometer,-
Mitchell tripod. $6,000 value . 2495.00
NEW 1 1 'xl 4' ROLLER SCREENS, ropes & pul¬
leys, mat white . 49.50
AURICON DOUBLE SYSTEM RECORDER w/noise
reduction amplifier . 295.00
TRADES TAKEN Cable: SOSOUND Dept, fc
S O S. CINEMA SUPPLY CORPORATION
602 W. 52nd Street, New York 19. Phone PL 7-0440
FOR SALE
GERMAN STILL 35mm cameras. Import your own.
Save importers and retailers profits. (About 35%).
Pay postman duties. Examples: EXAKTA. The only
completely versatile 35mm camera. With:
Automatic diaph. Zeiss Tessar
F/2.8 . . . $159. (duty $22.)
Automatic diaph. Isco Westanar
F/2.8 . - . . . $139. (duty $19.)
Automatic diaph. Schneider Xenon
F/1.9 . $195. (duty $26)
Automatic diaph. Zeiss Biotar
F/2.0 . . . $199. (duty $26)
Similar prices all other famous makes. All new.
Latest 1955 production in original factory packing.
Parcelpost and insurance included. No other
charges. Pre-payment through bank and inspection
or. arrival guarantees you complete satisfaction
before we are paid. Experienced, (and objective)
advisory service, (please specify interests and re¬
quirements), and pricelists by return airmail. All
transactions on money-back basis. WORLDPOST
TANGIER, MOROCCO.
OUR 26th YEAR ★ ★ ★ ★ SUPPLYING EVERYTHING
PHOTOGRAPHIC AND CINEMATIC
MATCHED PAIR OF HOLMES 35mm SOUND
PROJECTORS. Magazine film capacity 2000'
12" Speaker & Amplifier, 1500 Watt Lamps.
Value $1600.00. Gsaranteed . $ 635.00
35mm DEBRIE CAMERA MODEL L/E featur-
turing 1 — 28mm Schneider lens, 1 — 50mm
Schneider F2. lens, 1 — 75mm Schneider F2.3
lens. Pilot Registration Pins, Dirert fo-
rusing on ground glass, 6 — 400' maga¬
zines, DeBrie gearhead tripod. Matt box.
Value $2355.00 . 1250 00
RADIANT FOLD-PAK WASHABLE SCREEN un¬
used. 1 2'x 1 6' New Value $215.00 . 125.00
ART REEVES SENSITESTER Combination 35mm
and 16mm. Value $2,000.00. Special . 595.00
B&H 16mm FILMO CAMERA Model 70-DA
with 17mm f2.7 Wollensak, 1" fl .5 Dal-
meyer, 2" f2.8 Schneider. 3" f4 B & H
Teletar, and 6" f4.5 Telephoto Xenar
Lenses; 2-400' Magazines,- Motor; Wells
Semi-Professional Tripod: Carrying Case.
Value $1,695.00. Special . 1150.00
STANDARD MITCHELL 12 V Variable Speed
Camera Motor. Factory Guarantee . 300.00
Also 110 V AC-DC Motor with Tachometer.
Value $580.00 . 395 00
35mm B&H SINGLE SYSTEM SOUND CAM-
ERA. Lenses: 40mm, 50mm, 75mm, 125mm.
Modulite galvanometer, amplifier, motor,
Tachometer. 2-1000' magazines, Tripod
with Freehead, quick release legs, carry¬
ing cases. Guaranteed . 3250.00
SCHOEN PRINTER, sound and silent, color,
B & W. Features: 16mm picture & sound
together, film capacity 1600 feet, 50' per
minute,- 12 adjustable light channes; AC-DC
conversion unit . 999 go
LACO INCANDESCENT LAMP 24" Reflector’
Five Kilowatts. Rolling Stand. Value
$246.00. Special . 110.00
35mm DUPLEX PRINTER Adapted for sound
track, excellent for duping. Academy Aper¬
ture. Speed 250 pictures per minute per
side. Two light change boards, 18 different
lights each side, 21 scenes. Motor 110 V,
perfect mechanical condition . 875.00
MOLE RICHARDSON combination Microphone
and Lamp BOOM. Rolling stand. Special 235 00
B&H CAMERA CHECK PAWL. High speed
Shuttle. List Price new, $1742.00. In good
condition . ] 95 gg
B&H 12V or 24V EYEMO & 'FILMO” MO¬
TORS. New. Value $142.00 . 95 00
MOLE RICHARDSON 2000 Spot, rolling stand 110 00
ENLARGERS, EXCELLENT CONDITION, EL-
WOOD. Auto focus, lens and stand'. Size
5*7 . . 235.00
Size 8x10 . 400 00
SPECIALIZING IN MOVIE AND TELEVISION SUPPLIES
TRIPODS, SYNCHRONIZERS. 16mm SOUND CAMERAS
lights, lenses, mikes, booms, dollies, motors, etc.
New — Used. Reasonable prices. Cash for used equip¬
ment. Trades taken.
HOLLYWOOD CAMERA EXCHANGE, LTD.
1600 CAHUENGA BOULEVARD, HOLLYWOOD 28, CAL.
1 6MM HOUSTON K-1A . . . developing machines.
For reversal or positive film. Complete with
refrigerator units, temperature control, condensors,
evaporators, thermostats, etc. BRAND-NEW, prices
reduced! Write. AIR PHOTO SUPPLY, Dept. C-l,
555 E. Tremont Ave., New York 57, New York.
AUDIO AKELEY single system camera complete with
Akeley sound head. Gyro tripod, 3 lenses, view
finder, Maurer mixing amplifier. Complete with
cables, power supply and W. E. microphone.
CAMERA EQUIPMENT CO., 1600 Broadway New
York 19. N.Y Cable: Cineauip.
AURICON-PRO with follow focus, like new condition,
includes 1" f/15 lens, $950.00. Same as above but
without galvo and amplifier, $750.00. Auricon
sound recorder with amplifier, $650.00. SAMUEL
KRAVITT, 763 Chapel St., New Haven, Conn.
BELL & HOWELL FILMOARC, Rollaway stand, two
speakers never used, projector used very little and
by same experienhed projectionist. In perfect shape
Price $1300.00. JERRY L. DRAKE, Box 8, Bolivar^
Missouri.
PRECISION Magnetic Heads for Engineers - Industry
Erase - Record - Playback
STANCIL-HOFFMAN CORPORATION
921 North Highland Avenue
Hollywood 38, California
MOTION PICTURE EQUIPMENT NEW AND USED
ARRIFLEX 16, complete with 3 lenses, bat¬
tery, charger and case . $2365.60
NEUMADE FILM CLEANER, 2000' capacity.
Like new . 325.00
NEUMADE SHOW TIMER,' 16mm measuring
device, converts footage to time. Demon¬
strator . 119.50
MICRO-RECORD 16mm processing tanks and
dryer. 200' capacity. $302 value. Like new 195.00
BOLEX SYNC MOTOR, excellent condition . 125.00
VICTOR SILENT 16”, 2000' capacity pro¬
jector, variable speed, single frame, re¬
verse. List $265. Like new . ] 99 95
BELL & HOWELL ANGENIEUX, f.95 25mm
iens . 220.93
AND MANY OTHER ITEMS AT BARGAIN PRICES
WESTERN CINE SERVICE
114 East 8th Ave., Denver 3, Colorado
BASS ... is headquarters for Arriflex 16, the
new Zoomar 16, Cine Specials all models, Bell &
Howell 70-DL, Bolex H-16: Used 35mm. Akeley
#145 with Akeley Gyro tripod, matched pair
Tessar 5 cm. F:2.7 lenses, magazines, case, extra
lenses, $250.00; Used 35mm. DeBrie Parvo Model
G, all metal, 32mm. B&L W.A. F:4.5, 2" Tessar
F:2.5, 50mm. Ultrastigmat F: 1 .9, 3" Goerz Hypar
F’3 .5, 12 cm. C. Z. Tessar F:4.5, masks, pan and
tilt tripod, magazines, carrying cases, $250 00-
H-l 6 DeLuxe Bolex, 11" F: 1 .5, 0.7" F: 2.5 W.A
filter slot, $275.00; Victor 5, 1" F:1.5, 3" F:3.5
Wollensak lenses, $125.00; Cine Special II, 1"
F: 1 ■ 4 Ektar, optical finder, reflex finder, Yolo fader,
Case, $795.00. Best buys . . . Best trades always
BASS CAMERA CO., Dept. AC, 179 W. Madison
St., Chicago 8, III.
WE ALWAYS HAVE BARGAINS
in Professional 35 & 16mm equipment
CAMERAS — LIGHTS
MAGNETIC and OPTICAL
RECORDERS and PLAYBACKS
MOVIOLAS — DOLLYS — BOOMS
Send for our constantly changing list.
Hundreds of Other Production Items.
Write — Wire — Phone
CINEMA SERVICE CORP.
106 West End Avenue, New York 23, N.Y.
TRafalgar 3-1411
WALL S. S. 35MM. SOUND CAMERA
COMPLETE with Galvanometer, amplifier, portable
power supply, 40-50-75 and 100mm. lenses, erect
image viewfinder, complete front attachments, two
1000 ft, magazines. Balanced Tripod, necessary
carrying cases. Overhauled. Guaranteed perfect.
Reasonable.
CAMERA EQUIPMENT COMPANY
1600 Broadway New York 19, N. Y.
WE BUY, SELL AND RENT PROFESSIONAL AND 16mm
EQUIPMENT, NEW AND USED. WE ARE DISTRIB¬
UTORS FOR ALL LEADING MANUFACTURERS. RUBY
CAMERA EXCHANGE, 729 Seventh Ave., New York
City. Established since 1910.
MOVIOLA Model UDX composite with takeups also
magnetic and optical sound, projection picture
$950.00. LOUIS HANSEN, 1 39C N. Beachwood Dr.,
Burbank, California. THornwall 8-8953.
CINE Special I, new type magazine, ”C” mount,
4" f/2.7 Eastman lens. $325.00. VERNON FISHER
1202 S.W. 22nd Ter., Miami, Florida.
WANTED
WE’VE GOT CASH WAITING
Cameras, Dollies, Lenses, Lights,
Moviolas, Printers, Recorders,
Studio or Laboratory Equipment.
We also trade or take consign¬
ments. Set your own price — we’ll
get if.
Western Union-WUX New York,
Phone PL 7-0440
S.O.S. CINEMA SUPPLY CORPORATION
Depl- fc Cable: SOSOUND
602 W. 52nd Street New York 19, N. Y.
( Continued, on Next Page /
American Cinematographer
o
October, 1955
617
Classified Ads
( Continued, from Preceding Page)
WANTED
IMMEDIATE CASH PAYMENT FOR
CAMERAS AND EQUIPMENT
NEED EYEMOS (SINGLE LENS AND TURRET)
MITCHELLS, ARRIFLEX, DE BRIES, B&H STANDARDS
AND HI-SPEEDS, WALLS, AKELEYS, CINE SPECIALS,
AURICONS, MAURERS, FILMOS. ALSO BALTARS,
COOKES AND OTHER LENSES. SOUND STAGE
LABORATORY AND EDITING EQUIPMENT OF ALL
TYPES REQUIRED. PLEASE SHIP INSURED OR FOR¬
WARD DESCRIPTIONS AIRMAIL. IMMEDIATE PAY¬
MENT.
GORDON ENTERPRISES • 5363 N. Cahuenga
NORTH HOLLYWOOD, CALIFORNIA
WANTED FOR SPOT CASH
Used Mitchells, Auricons — other Cameras
Moviolas — Editing Equipment — Projectors
Spotlights — Sound Equipment
All Types Used Equipment
From a Splicer to a Complete Studio
Write — Wire — Phone
or Send Equipment in for Spot Cash
FLORMAN & BABB Murray Hill 2-2928
68 West 45th Street New York 36, New York
WANTED
PRODUCTION EQUIPMENT, LABORATORY EQUIPMENT,
EDITING EQUIPMENT, 16mm. and 35mm. FROM SIN¬
GLE ITEMS TO COMPLETE STUDIOS. TRADES AC¬
CEPTED.
THE CAMERA MART, INC.
1845 Broadway Circle 6-0930 New York 23, N.Y.
WANTED TO BUY FOR CASH
CAMERAS AND ACCESSORIES
MITCHELL, B&H, EYEMO, DEBRIE, AKELEY ALSO
LABORATORY AND CUTTING ROOM EQUIPMENT
CAMERA EQUIPMENT COMPANY
1600 BROADWAY, NEW YORK CITY 19
CABLE: CINEQUIP
F & B PAYS MORE
FOR USED 16/35MM EQUIPMENT
WRITE — WIRE — PHONE
FOR OUR CASH OFFER
FLORMAN & BABB MU. 2-2928
70 W. 45TH ST. NEW YORK 36, N.Y.
WANTED
Mitchell — Akeley — B&H — Wall — Eyemo
Cameras — Lenses — Equipment
NATIONAL CINE EQUIPMENT, INC.
209 West 48th St. New York, N.Y.
USED Auricon Pro, B&H hot splicer, 16mm syn¬
chronizer. Write full details. H. EISENKRAMER,
7550 Washington^ St. Louis 5, Missouri.
WANTED Blimp for Maurer #05. Must have follow
focus for Ektar lens. VENARD ORGANIZATION,
Peoria 2, Illinois.
POSITIONS WANTED
TALENTED CAMERAMAN has produced films all over
continent for theatrical release by prominent stu¬
dio, also TV release by others. These color and
B&W films concentrated on travel, adventure, wild¬
life, won several American and foreign awards.
Experienced in motion picture filming and stills,
studio lighting, editing,- has college background.
Now available for assignment in similar work
anywhere. For more details write: Mr. C. Gaum,
729 North L St., Lake Worth, Florida.
INSTRUCTOR and author of numerous articles for
leading photographic magazines, with 15 years
practical experience in movie, still work and the
manufacture of photographic equipment seeks chal¬
lenging, responsible position in field of motion
picture production, still photography, instruction,
or as technical consultant. Box 1221, American
Cinematographer.
NEGRO — Catholic, experienced cameraman, 35mm
newsreel, 16mm color productions, editing, light¬
ing, titling, also projectionist. MALCOLM MYERS,
3424 Clark Ave., St. Louis 3, Missouri.
POSITIONS WANTED
PERMANENT position wanted by 16mm cameraman
familiar with all phases of industrial production.
Write BOX 1220., American Cinematographer.
ASSIGNMENTS WANTED
WELL KNOWN cameraman, experienced educational
and TV film producer, having extensive 16mm
color production set-up in India, Ceylon and
Malaya, is open to produce films in those coun¬
tries. Leaving America towards end of this year.
Please write to M. P. S. VAN LIER, % Keesing,
250 West 75th St., New York, N.Y.
CAMERAMAN-writer-editor: experienced cinematograph¬
er have traveled throughout the USA on assign¬
ments. Will take overseas duty, underwater, etc.
Can also edit, prepare scripts, direct. College back¬
ground, young, 35. Full particulars write BOX
1217, American Cinematographer.
ALASKA assignments, 16mm sound or silent, 35mm
silent. DON CUTTER, 238 4th Avenue, Anchorage,
Alaska.
LABORATORY & SOUND
ROCKY MOUNTAIN 16MM HEADQUARTERS
Processing — Printing — Recording
Editing — Production — Rental — Sales
DuPont, Eastman and Fastax films in stock.
Write for Price List.
WESTERN CINE SERVICE, INC.
114 E. 8th Ave., Denver 3, Colo. TAbor 5-2812
SOUND RECORDING at a reasonable cost. High
Fidelity 16 or 35. Quality guaranteed. Complete
studio and laboratory services. Color printing ana
lacquer coating. ESCAR MOTION PICTURE SERVICE,
INC., 7315 Carnegie Avenue, Cleveland 3, Ohio.
Phone Endicott 1 -2707.
16mm SOUND and picture editing — sound recording-
music— effects. DON DUNN'S EL RANCHO AUDIO,
near Palos Verdes and L.A. Harbor. 26246 Fairview
Avenue, Lomita, Calif. DAvenport 6-4925.
LABORATORY Services 16mm-35mm. Developing, Print¬
ing & Reduction. Reasonable. Quality guaranteed.
NATIONAL FILM PRODUCTIONS, 955 Diana Ave.,
Akron, Ohio.
PRINTING! REASONABLE PRICES! FREE ESTIMATES!
Sebastian 10934-C Hamlin, North Hollywood, Calif.
INSTRUCTION, CORRESPONDENCE SCHOOLS, ETC.
NATIONWIDE SCHOOL OF CINEMATOGRAPHY— com¬
plete professional course in cinematography, cover¬
ing ail phases of motion picture production and
technical aspects. Many leading newsreel and TV
camera men started their careers with a Nation¬
wide diploma. Course now available by mail at
reduced rates, easy installment plan. For details
write NATIONWIDE SCHOOL OF CINEMATOG¬
RAPHY, Dept. A, 4211, Gaston Ave., Dallas, Texas.
MOTION PICTURE STUDIO FOR SALE
A fully equipped motion picture studio in city with
some of the largest commercial films in the world.
No local competition. Also national film distribution
service. Fine opportunity for a couple of wide-awake
young men to acquire long-established profitable
business. Owner desires to retire. Box 1221, AMERI-
CAN
CINEMATOGRAPHER.
:l
Here • . .
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on this page
uA|ir|| find
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yuu II unu
BARGAINS
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GALORE
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New and Used Equipment
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ANIMATION
(Continued from Page 613)
The cardboard container of the product
was supported on glass. A stylized back¬
ground was used under the glass and
this background was dramatically light¬
ed. By stopping the camera between
action stages, a bar of margarine was
made to appear to emerge from the box
and shed its wrapper. Next, a knife cut
off a portion which then zoomed up to
a big closeup.
Since the cameraman doing this in¬
tricate filming rarely is acquainted with
the details of the production discussed
by the producer and client during the
pre-production stage, he is given care¬
fully-detailed exposure sheets, which be¬
come his shooting script. The import¬
ance of foolproof exposure sheets can¬
not be over-emphasized. These give the
cameraman the exact information need¬
ed for shooting, and for handling the
paper drawings, painted cels and back¬
grounds necessary to the production. In
some cases, a single production will in¬
volve a thousand separate pieces of art.
The exposure sheet is ruled horizon¬
tally and vertically — chronological action
from top to bottom, cel levels from right
to left. Thus, the bottom cel on the com¬
pound table is tabulated at the extreme
right whereas the top cel appears at
the extreme left.
Listings on the exposure sheet are
complicated when there are a large num¬
ber of cel levels because the animator
must get the desired action and see that
there is no cel interference. Then, too,
the exposure sheet must show charac¬
ters and scenes keyed precisely to match
sound effects and dialogue. Where mouth
movement is involved, the exposure
sheets show the frames where syllables
occur and where words and pauses be¬
gin and end.
After the animator and his assistants
have completed their work on the ex¬
posure sheet, a checker goes over all of
the material before it is turned over to
the cameraman for pencil test. The pen¬
cil test allows the animator to check the
smoothness of his work. It also serves
as a client checkpoint. The job is then
turned over to the department where
cels are inked, painted and polished for
the camera. Prior to final shooting, a
dry run takes place on a mock camera
table where drawings, cels and cutouts
are put through their paces in the se¬
quence shown on the exposure sheet.
This verifies whether the components
work mechanically.
Following this, regular animation
photography of the production begins.
618
American Cinematographer
October, 1955
Kodak shit tier development combines
sound-and-silent versatility with
40% extra screen brilliance !
KODASCOPE mpmC
SO USD f>S<mCT0&
Si:K8.w Msunat-»K»tu»-o?3
How amazing new SUPER-40
Shutter increases projector
versatility and brilliance:
1. Switch on at silent speed. The
Super-40 Shutter automatically
presents three shutter blades to
produce 48 light interruptions
per second, the motion-picture-
industry standard for comfort¬
ably flicker-free projection.
2. Switch to sound speed. Super-40
Shutter shifts automatically to
two blades. You can see the
picture brighten by more than
40%! Yet there are still 48 light
interruptions per second, and
Vour movies remain comfort¬
ably free from flicker!
3. Or lock the shutter in 3-bloded
position when you don't need
the extra brilliance. (To return
to automatic shifting, just re¬
lease the locking lever.)
Now in Pageant A-V models without extra cost _
Kodak’s amazing new SUPER-40 Shutter
Kodascope Pageant Sound Projectors have long been respected
as outstanding in all 16mm. sound projection's most important
characteristics. Exclusive permanent pre-lubrication, for ex¬
ample, makes Pageants the easiest of all projectors to main¬
tain, the surest to use, and the most permanently quiet in opera¬
tion. And there are other features, like the unique sound-
focusing Fidelity Control and the built-in field-sharpening
element, that make Pageants outstanding in sound and picture
quality, too.
Now, with the Super-40 Shutter, there’s still another basis
of Pageant superiority. This amazing shutter provides more
than 40% extra illumination at sound-speed operation; yet
thanks to its automatic-shift feature, movies are comfortably
free from flicker at both sound and silent speeds.
Pageant Sound Projectors, more than ever, merit top recom¬
mendation, because Pageants have now achieved a versatility
of performance never before approached in 16mm. projection!
The Super-40 Shutter equips Pageant A-V Model Projectors
for both sound and silent operation . . . makes them capable
of projection not only under “normal” conditions, but also
under difficult conditions of illumination, in hard-to-darken
rooms, in large halls — wherever additional brilliance, extra-
long “throws,” or unusually large images are required!
The Super-40 Shutter is supplied without extra cost in any
of three new Kodascope Pageant Sound Projector models of
varying amplifier output and speaker capacity. See your
Kodak Audio-Visual Dealer for full details ... or just mail
the coupon for a new free Pageant Projector catalog.
10-11
EASTMAN KODAK COMPANY, Dept. 8-V, Rochester 4, N. Y
Please send catalog on
new Pageant Projectors
with Super-40 Shutters.
NAME.
TITLE.
ORGANIZATION.
STREET _
CITY _
(Zone)
-STATE.
byron color-correct* prints
Hi
You’ll also
get the highest standard
of 16 mm. production when you
use these byron facilities:
B Is
industry's highest standard
of color duplication
script
art
titling
animation
editing
sound effects
recording
location photography
music library
sound stage
complete black and white
laboratory facilities
Reeves magna-stripe *
Only byron can make “Color-Correct*” prints, for
“Color-Correct*” is byron’s exclusive patented process
that assures top quality color duplicates every time.
“Color-Correct*” has often been used incorrectly —
to mean mere balancing of color from scene to scene . . .
but byron “Color-Correct*” goes far beyond that. From
every standpoint, “Color-Correct*” is the highest standard
for color duplication; yet, surprisingly enough, byron
prices are among the lowest in the industry. Next time you
order color duplicates, specify byron “Color-Correct*” prints.
byron
Studios and Laboratory
1226 Wisconsin Ave., N.W., Washington 7, D.C.
*Reg. U.S. Pat. Office
DUpont 7-1 800
SEND FOR YOUR COMPLIMENTARY COPY OF THE 3 ILLUSTRATED BULLETINS ON “PRE-PRINT PREP¬
ARATION” AS DEVELOPED AND RECOMMENDED BY THE ASSOCIATION OF CINEMA LABORATORIES
AMERICAN
NOVEMBER • 1955
fh/s fcst/e • - •
• Shooting The Big Scenes For “The Tall Men”
• So, You Want To Be A Hollywood Cameraman
• The Use of “Existing Light” In TV News Photography
25c
FOREIGN 35c
Negative-positive machine designed by Mr. Smith. Lab
Supervisor John Z. Wergel (left) and J. Norman Bennett
of Du Pont watch operation.
Warren Smith, threading a step-printing machine says, “Du Pont 802 16-mm. Sound
Recording Film is used for negative and positive optical tracks. Its non-halation base
enhances sharpness of image for excellent sound clarity and definition.”
Cameraman Anthony Mantia shoots half-hour TV show,
“ Abbie Neal and her Ranch Girls,” on Du Pont Type 930
High Speed Rapid Reversal Motion Picture Film.
"Never miss an exposure on assignment...
thanks to the speed and latitude of DuPont Film! ”
says WARREN R. SMITH, President of Warren R. Smith, Inc., Pittsburgh, Pa.
“We use DuPont Motion Picture Film ex¬
clusively for every black-and-white assign¬
ment from ball games to animated cartoons,”
says Mr. Smith. “We’ve simply learned to
expect good results with DuPont Films . . .
and that’s what we get!
“Frequently we run 1200 feet of DuPont
Film through our cameras without once stop-
ing the mechanism . . . 930 and 931 keep our
cameras rolling.”
When lighting conditions are poor, Du Pont
Type 931 High Speed Rapid Reversal Motion
Picture Film gives excellent results . . . wide
latitude makes retakes unnecessary. Many
cameramen prefer Du Pont 930 for studio work
... its speed and contrast range give top
quality and soft-tone reproduction which
are so necessary for television films. An “on-
location” assignment recently compelled Mr.
Smith’s company to shoot a group of 28
half-hour programs with a light reading of
only 125 foot-candles. Using 931 they were
able to stop down to f/4.5, which, of course,
gave them a greater depth of field.
“Type 931 has less grain than any other
‘fast’ film, some with only half its speed.”
Mr. Smith goes on, “In fact, Du Pont Rapid
Reversal Films have inherently less grain
than other negative films of the same rating.
“Du Pont Rapid Reversal Films are used
most extensively by our company because the
hard emulsions are durable . . . can be
processed rapidly at temperatures up to
125 F, with good results every time.”
FOR MORE INFORMATION, write or call the
nearest Du Pont District Office (listed below)
or the Du Pont Company, Photo Products
Department, Wilmington 98, Delaware. In
Canada: Du Pont Company of Canada Limited,
M0ntreaI- DISTRICT OFFICES
ATIANTA 5. GA .
BOSTON 10, MASS. . .
CHICAGO 18, ILL .
CLEVELAND 14, 0 .
DALLAS 7, TEXAS .
LOS ANGELES 38, CALIF
NEW YORK 11, N. Y .
PHILADELPHIA 2, PA. . .
805 Peachtree Bldg.
. 140 Federal Street
3289 N. California Ave.
1033 Union Commerce Bldg.
. 1628 Oak Lawn Ave.
7051 Santa Monica Blvd.
248 West 18th Street
. 225 South 15th Street
REG.U.S PAT. OFf
BETTER THINGS FOR BETTER LIVING
. . . THROUGH CHEMISTRY
DUPONT MOTION PICTURE FILM
They’ve been
trying to copy PROFESSIONAL JUNIOR
Tripod — but nobody can get around our
exclusive patented features.
Features which make PROFESSIONAL
JUNIOR tops in the motion picture,
TV and commercial film world. First
choice of professional cameramen.
First choice of our Armed Forces.
Is your work “dragging” for want
of an outstanding tripod? Get
PROFESSIONAL JUNIOR—
the price hasn't changed in
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New Professional Junior Adjustable wood
BABY TRIPOD
— for friction and geared Heads.
Has substantial shoe and spur.
Measures from floor to flange 25" extended —
17" collapsed.
FRANK C. ZUCKER
(JflmeRfl €01
uipmem Co.
Dept. A-l 1 -1 8 » 1600 Broadway • New York City
1
CONSOLIDATED
FILM
INDUSTRIES
959 Seward St., Hollywood 38, Calif.
1740 Broadway, New York 19, N. Y.
AMERICAN
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
PUBLICATION OF THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
Arthur E. Gavin, Editor
Marion Hutchins, Editorial Assistant Emery Huse, Technical Editor
Editorial Advisory Board: John Arnold, Arthur Edeson, Lee Garmes, Charles
Rosher, Leon Shamroy, Fred Gage, Glenn R. Kershner
Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Calif.
Telephone: HOIlywood 7-2135
VOL. 36
NOVEMBER • 1955 NO. 11
3 n This Issue
Shooting the big scenes for “The Tali. Men By Leo Tover, A.S.C.
Toughest, Thinnest Film .
The Use of “Existing Light” In Newsreel Photography By Bob Gray
The Industrial Cinematographer — By John W. Bakke -
Summary of Current Wide-Screen Systems of Photography
So. You Want To Be A Hollywood Cameraman — By Arthur Rowan
Swan Song of India — By Frederick Foster -
644
646
648
650
654
657
658
AMATEUR CINEMATOGRAPHY
New Kodak Cine Cameras Simplify Movie Making -
Synchronized Sound With Any Silent Projector— By Harold Benson
FEATURES
What’s New In Equipment, Accessories, Service
Hollywood Bulletin Board .
Industry News .
Turning Back The Clock .
Hollywood Studio Production -
660
662
628
630
634
638
678
ON THE COVER
SOME OF the unique camera treatment and set lighting, which director
of photography Joseph Ruttenberg, A.S.C., employed to such advantage
in photographing “Kismet” for Metro-Goldwyn-Mayer, is seen in this photo,
which shows the CinemaScope camera on the RO-Crane for a moving shot
of Ann Blythe and Vic Damone.
. llllllllllilllllllllllHIllllllllllllllllillllllllllllllllllllllllllllllllllllllllllll
AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S.
C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. Entered as second class matter
Nov 18 1937, at the postoffice at Los Angeles, Calif., under act of March 3, 1879. SUB¬
SCRIPTIONS: United States and Canada, $3.00 per year; Foreign, including Pan-American
Union, $4.00 per year. Single copies, 25 cents; back numbers, 30 cents; foreign single
copies,* 35 cents; back numbers, 40 cents. Advertising rates on application. Copyright 1955
by A.’ S. C. Agency, Inc.
Illllllliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiih
liSii
. he matchless technical perfection which a Mitchell camera brines
. • t • , 6
to a nim can insure the investment as can no other single element of production.
■
For over 25 years constant research and engineering bv Mitchell has
continued to produce, year after year, the most advanced and only truly
. J J
professional motion picture camera. It is traditional of Mitchell cameras that
in addition to filming the world’s greatest films, they are to be found wherever
'
new and exacting techniques of filming are being successfully used.
Mitchell cameras are today dependably serving such varied fields as
Television, Business and Industry, Education, Government, the Arme/l Services, and
major Motion Picture Studios.
| ifey - -
. • a
Tom Kelley Studios shoots a TV commercial "f One of three Mitchell 35mm "BNC" Cameras used by DlhK;
for North American Airlines with this Mitchell Productions on the “I Love Lucy" series with Desi Arnaz, right,
35 "NC" Ceosar Romero is shown a* center. and Lucille Ball.
1 Mitchell cameras are created, not mass produced— the same supreme custom
workmanship and smooth, positive operation is found in each Mitchell camera,
16 mm or 35 mm. Available to give Mitchell Cameras almost limitless capabil¬
ities, are the finest of professional accessories.
y\ ", "
I
MWW/ CORPORATION
666 WEST HARVARD STREET • GLENDALE 4, CALIFORNIA • CABLE ADDRESS: "MITCAMCO"
•, V- 4
% of the motion pictures shown in theatres throughout the world are filmed wiHtj
1®
f ' '
■
.
■ *
> ^ • ,
a complete
- lb. sound
Magnasync X-UOO Recordei
FEATURING...
Producer Net Price $895.00
F.O.B. North Hollywood, Calif.
Higpitfi
. - -
High gain "long-shot" microphone channel.
Dialog equalization for "speech-music" selection.
Self-contained playback system for "film-direct" monitor.
Famous Magnasync "Synkinetic" precision film transport.
High speed rewind, sync speed reverse and fast forward.
Convenient arrangement for "sync marking."
Footage counter, extended capacity arms, "quick-detach" mount for
special motors, projector cable interlocks and many other compatible
accessories to help increase production efficiency.
Unconditionally guaranteed specifications.
send for complete specifications and delivery schedule.
INTERNATIONAL LEADERS IN THE DESIGN AND MANUFACTURE OF QUALITY MAGNETIC FILM RECORDING DEVICES
MAGNASYNC MANUFACTURING CO., Ltd., 5546 Satsuma Ave., North Hollywood 1, Calif.
DEALERS
. JR •• ! RIB?
NEW YORK — Camera Equipment Co., 1600 Broadway,
New York 19. JUdson 6 1420. Cable Address CINEQUIP.
CHICAGO — Zenith Cinema Service, Inc., 3252 Foster
Ave., Chicago 25, III. IRving 8-2104.
SAN FRANCISCO - Brooks Camera Co., 45 Kearney St.,
San Francisco, Calif. EXbrook 2-7348.
CANADA — Alex L. Clark, Ltd., 3745 Bloor St.. Toronto
18, Ontario. BEImont 1-3303.
PERMA-LOCK MIRROR
GUARANTEES POSITIVE
MIRROR ALIGNMENT
Only a Perma-Lock snaps into
position and stays in position.
This insures positive mirror
alignment, perfect focus after
every globe removal. Even a
severe jolt can’t disalign mirror
TODAY, WRITE FOR COLORFUL NEW
CATALOG-BROCHURE “NEW DIMENSIONS IN
CONTROLLED STUDIO LIGHTING”
world headquarters for the finest engineered lighting & production equipment (sales and rentals),
1117 North McCadden Place
Hollywood 38, California
LIFETIME BEAM-PILOTS ]
GUARANTEE FLARE-FREE
SPILL-PROOF LIGHTING
Encircling every Fresnel lens-zone
are special, opaque bands, fused
to the glass. These Beam Pilots
prevent flare and spill-light by
controlling side-beam deflection,
and without losing useful light.
combine all 3
m
■y- .
DUAL CONTROL FOCUSES
BOTH FRONT AND REAR
New dual-focus control is twice as
convenient, twice as accurate
as unsteady, old-fashioned one
lever focusing. Even-Action focus
is always smooth, absolutely
precise and accurate from spot
to flood positions.
. . . in equipment, accessories, service
Power Supply
Filmtronics, Inc., 96 Huntington St.,
New London, Conn., announce a port¬
able power supply unit which has power
source and converter in one small case,
71/4" x 61/2" x 414" in size. Unit sup¬
plies 110-v of 60 eye. A.C. current (35
watts) for driving small motion picture
camera motors and other related equip¬
ment. Price of $68.50 includes battery.
Tripod Triangle
A collapsible, three-wheeled tripod
triangle is announced by Cinekad Engi¬
neering Co., 500 West 52nd St., New
York 19, N. Y. Features include deep-
hole leg nests, and special locking de¬
vice for securing tripod legs to triangle.
The salient feature, according to man¬
ufacturer, is the three heavy-duty Darnel
rubber-tired, swivel casters which per¬
mit moving the camera in any direction
with complete ease. W heels have inde¬
pendent locking devices. Triangle folds
readily to a compact, 7-lb. package.
Portable Cine Light
Dormitzer Electric & Mfg. Co., Inc.,
5 Hadley Street, Cambridge 40, Mass.,
offer a portable, light-weight lighting
unit especially adaptable for newsreel
photography where the light unit may
be carried by the photographer. Unit
gives a minimum of 20 minutes of light
of 8,000 lumen seconds and 3400° K.
List price is $325.00.
Animation-FX Stand
J. G. Saltzman, Inc., 480 Lexington
Ave., New York 17, N. Y., announces
the new model III-E Animation and
Special Effects Camera Stand for ani¬
mation, titles, cartooning, photography
of stills, and trick cinematography. Unit
is engineered especially for the indus¬
trial. educational and TV him producer.
Other features include floating peg
bar system, adjustable platten holder
rotatable up to 30° ; new lens mount
with auto-focus feature; new shadow-
board permitting wipes and other spe¬
cial effects; special clutch motors; and
unique peg bar release.
Complete technical details and price
may be had by writing the manufac¬
turer.
New Filmosound
Bell & Howell Company, Chicago, an¬
nounces a new model 16mm Filmosonud-
385, said to produce four times as much
sound volume at low voltage as previ¬
ous models.
New case styling and mechanical and
electrical improvements are added fea¬
tures. Threading and projector opera¬
tion remain the same. Tone control is
calibrated with white dots, with a large
dot indicating “flat” position midway
(Continued on Page 632)
628
Am erican Ci n ematogr aph er
November. 1955
NOW, A DUAL-PURPOSE AURICON "SUPER 1200" CAMERA
with Television -Transcription "TV-T" SHUTTER _
...designed for Kinescope Recording. ..and shoots regular Live Action
16mm Sound-On-Film Talking-Pictures without any Camera modification
or change in the “TV-T” Shutter! The Auricon “Super 1200” Camera can
Kinescope Record a continuous 30 minute show using 1200 foot fiim
magazines. The “TV-T” Recording Shutter (United States Patent 2,677,012)
works equally well with negative-positive or reversal film. This Dual-Purpose
“TV-T” Shutter is also available for the “Auricon-Pro” and “Cine-Voice”
Cameras. Write today for information and prices.
Auricon Cameras with “TV-T” Shutter are sold...
©Without sound for “TV-T” Kinescope Recording of picture only.
©With Single-System Sound-On-Film for “TV-T” Kinescope Recording of
picture and sound-track on same film at same time.
©For Variable-Area OR Variable-Density Sound-On-Film “TV-T” Recording.
Auricon 50 ft. Kinescope “TV-T” Demonstration Films are available on loan to
TV Station Managers and TV Film Producers. Please request on your letterhead.
|IIIIIIII!IIIIIIIIIIIIIIIIIIIIIIIIIIIIIII1IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII1IIIIIIIII!IIIIIIIIIIIIIIH
| USE AURICON "TV-T" KINESCOPES FOR: j
DELAYED RE-BROADCASTING
* SPONSOR PRESENTATIONS
COMPETITION CHECKS
* pilot KINESCOPES
SHOW-CASE FILMS
FILM LIBRARY
"HOT KINES"
AIR CHECKS
§ Auricon 16 mm Sound-On-Film Cameras are sold
g with a 30-day money-back guarantee. You must
I be satisfied!
illlllllll . llHlllllllllllll . ill . llllllll . . . .
BERNDT-BACH, INC.
L. . ■ .... * * . , , ■ - ,, ‘ ' i
6902 Romaine St., Hollywood 38, Calif.
SOUND-ON-FILM EQUIPMENT SINCE 1931 TR,P0° portable power unit cine-voice auricon pro-mo super 1200 sound rkoiw;
$32500 $26950 $695.00 $1497.00 $4652.15 IJ359.0C
Hollywood
Bulletin Board
Five directors of photography, all A.S.C.
members, have been selected to receive
the first “George’ awards created by the
George Eastman House of Rochester,
N. Y., as retrospective citations for their
distinctive contributions to the American
Cinema within the memorable silent era
from 1915 to 1925. They are: Charles
Kosher, Arthur Edeson, Lee Garmes. Hal
Rosson. and John Seitz. The awards will
be presented November 19th at cere¬
monies to be held at the George Eastman
House.
(Continued on Page 634)
OVER 200 A.S.C. MEMBERS, wives and guests attended the Society’s annual Ladies Night Dinner and Dance
held in the Mayfair Room of the Beverly-Wilshire Hotel, Beverly Hills, on October 29th. Event marked first
time in ten years that it has not been held at the A.S.C. Clubhouse. Photos (1) and (2) show happy throng
during the dinner period. A.S.C. President Arthur Miller (left in photo 3) is reminiscing with Arthur
Edeson and Herbert Aller. Typical dinner groups are shown in photos (4) and (5). Among those who arrived
early and stayed late were Mr. and Mrs. Sol Polito (6). Greeting arriving guests (7) were Arthur Edeson,
chairman of the Dinner committee (left), Arthur Miller, and Mrs. Arthur Edeson. Arrivals are Mr. and Mrs.
Wm. N. Williams. The guests came to dance as well as to dine, as evidenced in photos (8) and (9). A.S.C. s
roving photographer caught Mr. and Mrs. Walter Strenge on their arrival (10), and Mr. and Mrs. Gert
Anderson (11) greeting an old friend (unidentified.)
630 o
A M ERICA N ( !lN EM ATOGRAPH ER
November. 1955
need location
lighting. ..fast?
Call on Jack Frost f one of the
nation's largest suppliers of
temporary lighting facilities.
Wherever you are, whatever your
lighting needs, you can depend on
Jack Frost’s expert handling and com¬
plete range of equipment, from a
100 watt inkie to 225 amp arc with
mobile power plants. In the studio
too, we can supplement your present
equipment to meet any situation, any¬
where. We’ve been doing it for years
for many of the top shows.
Our service includes complete installa¬
tion and removal at one low cost.
free estimates
Write or wire for a free estimate and
a Free Catalog of Equipment.
JACK A. FROST
a
Dept. AMCI
234 Piquette Ave., Detroit 2, Michigan
425 Burnamthorpe Road, Toronto 18, Ontario
is our business
personalized
service
East
ROUND-THE-CLOCK SERVICES
Negative Developing
•
First Print Department
Ultra Violet and
Flash Patch Printing
•
16mm and 35mm
Release Printing
•
Kodachrome Printing
63 Editing Rooms
SPECIAL TV SERVICES
MOVIELAB
Now
Celebrating
Our 25th
Anniversary
FILM LABORATORIES, INC.
619 West 54th Street, New York 19, N. Y. JUdson 6-0360
WHAT’S NEW
( Continued from Page 628)
between bass and treble. Still other
features are the shuttle which engages
the film gently and a longer pressure
plate to hold the loop with green or new
film.
Single case model retails for $464.95,
has a 2-in. f/1.6 lens, 1000-w lamp.
Sound Reader
Precision Laboratories, 1139 Utica
Ave., Brooklyn 3, N. Y.. announce their
new Model 600. Series RL, precision
optical sound reader. It is a combina¬
tion 16mm/35mm model designed for
editing either variable-area or density
tracks. Instrument can be used with
film viewers operating from right or
left or vice-versa. Amplifier is 4-watt
high-gain, operates at 117-v., 60 eye.,
A.C. Speaker is a HD Alnico.
Cine Lens Attachments
Wollensak Optical Co., Rochester,
N. Y., announces a new Cine Wide-angle
Lens attachment and a Cine Telephoto
Lens Attachment for Bell & Howell 252
and 220 and Kodak Brownie f/2.7 and
f/1.9 cameras. One lens fits all cameras,
made possible by special adapter ring
for the B&H cameras. Ring is not re¬
quired for the Brownie cameras. Each
lens lists for $22.95 each. Finders are
available at $3.00 each.
632
A M KR I C A N Cl N EM ATOGR APH ER
November, 1955
Recent NOMINAR 1" f/1.9 lens purchasers
include:
U.S. Air Force
General Precision Laboratories
General Electric Co.
Civil Aeronautics Admin.
Carrier Corp.
Lancaster Cleft Palate Clinic
Wilding Pictures
Grandwood Broadcasting
Philco Corp.
. . . and a couple of hundred other produc¬
ers, industrial and TV outfits using the
“World's Fastest Lens.”
¥ ¥ ¥
HERB SHRINER a frequent visi¬
tor at our new showroom, has
filmed some terrific underwater
Kodachrome with his trusty Filmo.
But he’s got his eye on one of our shiny, new
16mm Arriflex outfits.
¥ ¥ ¥
A large aircraft manufacturer did
some shooting in New Jersey re¬
cently. Besides supplying 16mm
Mitchells, our rental dept, sent out
4 10,000-watt spots, 6 5000-watt spots, 8 2000-
watt spots, a slew of smaller lights with all
the cables, junction boxes AND a 50-kw gen¬
erator.
¥ ¥ ¥
Have you seen our new bi-monthly
bargain list? Among the bargains
listed this month are:
3-gang 35mm synchronizer . $87.50
Heavy-duty 16mm rewinds . $11.95 pr.
1 1x14" camera slates . $7.74
and hundreds of others. A postcard will bring
it to you.
A crew is shooting in South Dakota. Sud¬
denly the Auricon exciter lamp burns out.
It’s Saturday afternoon. What to do?
A phone call to F&B brought a replacement
by airmail, special. This happened last week.
¥ ¥ ¥
HtRSnM Another new Mitchell camera
... a BNC arriving shortly for
our rental dept. This one has a
complete set of Cooke lenses from
18.5mm up to 150mm.
¥ ¥ ¥
These new products now available.
Bell & Howell 70DR Filmo, and
the 385 sound projector ... a new
CinemaScope anamorphic lens for
all 35mm cameras (Price $500), also for
16mm (Price $339).
★ ★ ★
Write right now for
1. F&B complete-catalog.
2. F&B Rental Price List.
3. F&B Bargain List of Used Equipment.
68 West 45th Street, New York 36, N. Y.
Phone: Murray Hill 2-2928
Cable Address - FLORBABB, N.Y.
for all cameras
Does your tripod include these
exclusive PRO CINE features?
A. External camera tightening
knob with angle gears
B. Telescoping, offset tripod
handle.
C. Second tripod handle po¬
sition
D. Large positive pan and tilt
locks
E. Brass shaft for longer wear,
no sticking
F. Separate, precision machined
friction plate
G. Four bolted leg supports
with leg rest ledge
H. Aluminum leg tops — no
holes drilled thru wood legs
I. Single knob leg tightening
— for even tension and no
warping
J. Superb, seasoned and wax¬
ed hardwood legs. Will
never stick.
Finest Precision Craftsmanship
and Materials
Friction head unconditionally
guaranteed for Five years
Price $145.00
Heavy Duty Fibre Case $20.
Available direct or a!
leading camera dealers
95 LENS
F & B SPLIT REELS
MADE IN USA
Exclusively by F&B
F&B
NOMINAR 1" f/0.
HUGE
INDUSTRIAL
INTERIORS
AUDIENCE
REACTION
SHOTS
COLOR
NEWSREELS
In C mount for all 16mm cameras
“THE FASTEST CINE LENS IN THE WORLD”
More than twice as fast as f/1.4
Definition, resolution and contrast as good/or better
than any comparable lens.
Price $165.00 $9.90 FET
Including —
Series VI filter holder, sunshade
Screw-on dust covers
Leather carrying case
Ever Have the Center Drop Out?
Eliminates FLANGES and
risky TIGHTWINDS
Simply open Split Reels — slip in film on core
and work with safety, speed and accuracy.
400 ft. SPLIT REEL $4.50
800 . 6.00
1200 . 7.50
1600 . 9.00
IMMEDIATE DELIVERY
F&B PRO CINE - THE MOST
improved tripod in the
MEDIUM WEIGHT CLASS
HOLLYWOOD BULLETIN BOARD
(Continued, from Page 630)
ONE CAMERA
16mm or 35mm
in 10 SECONDS!
Camerette 1635
Reflex Motion Picture Camera
Th* perfect camera for the motion picture film
maker working in both 16mm or 35mm color
•r black and white.
LOOK AT THESE ADVANTAGES —
• The same lenses, same motor drives, same
sound blimp and accessory equipment used
for both 16mm or 35mm — to convert simply
change the magazine.
• Precise rugged movement
• Reflex viewing
• 200 degree adjustable shutter
• Divergent three lens turret
• Automatic film gate 400* magazines 16 or
35mm — the 1 6mm magazine will accom¬
modate daylight spools as well as standard
core load.
• Light weight — only 14 pounds with 3
lenses, 400' magazine, and 6/8 volt motor.
Write for brochure
patents coutant-mathot
Manufactured by Ets. Cine. Eclair, Paris
Awards are also to be made in three
other categories: actress, actor and di¬
rector.
A total of 70 veteran directors of
photography were considered for the
awards from the nomination list submit¬
ted to the committee. They are: David
Abel. Lucien Andriot, John Arnold,
Friend Baker, John W. Boyle, Norbert
Brodine, Charles G. Clarke, Daniel
Clark, William Daniels, Faxon Dean,
Robert DeGrasse. Max Dupont. Edward
Dupar, Elmer Dyer.
Paul Eagler, Arthur Edeson, Max
Fabian, Harry Fischbeck, George Fol-
sey, Lee Garmes, Merritt Gersted, Al¬
fred Gilks, Bert Glennon, Ernest Haller,
Byron Haskins, Sidney Hickox, Ray
June, J. Roy Hunt, Fred Jackman, Roy
Klaffki Benjamin Klein. Edwin Linden,
John J. Mescal, Jack Mackenzie Victor
Milner, Virgil Miller, Arthur C. Miller,
Hal Mohr. Nicholas Musuraca, Ira Mor¬
gan.
Ernest Miller. Harry Newman, Roy
Overbough, Ernest Palmer, Paul Perry,
Harry Perry, Gus Peterson, Sol Polito,
Lewis Physioc, Irving Reis, Jackson J.
Rose, Charles Rosher, Hal Rosson, Jo¬
seph Ruttenberg, John F. Seitz, Allen
Seigler, George Schneiderman, Henry
Sharp. Harry Stradling, Karl Struss.
Philip Tannura, John Stumar, J. 0,
Taylor, Roland Totheroh, Charles Van
Enger, James Van Trees, Dwight War¬
ren, Gilbert Warrenton, Joseph Walker,
L. Guy Wilkie, and Alvin WycolT.
The above were nominated on the
basis that they were active as cinema¬
tographers in Hollywood during 1915-
1925. In selecting those who are to re¬
ceive the awards, their individual con¬
tributions were considered. Chairman of
the committee conducting the balloting
and making the awards is Jesse L.
Lasky, with producer Carey Wilson, ac¬
tor Jack Mulhall, director Frank Bor-
zage, and cinematographer Jackson J.
Rose among committee members.
• • •
The 28th Academy Awards Presenta¬
tions has been set for Wednesday,
March 21, 1956, with televising of the
Awards Nominations — an event begun
this year — set for an unnanounced date
a week earlier.
• • O
Development of a new system by East¬
man Kodak Company for speedy kine-
; scope recording of color television pro¬
grams has been announced. System
makes it possible to record a color tele¬
vision program on special black-and-
white film — called lenticular film — and
to retelecast the program in color. The
him can be processed in about an hour.
New system is said to give good quality
reproduction at reasonable cost.
• • •
Three A.S.C. members were elected last
month to the Board of Directors of the
Motion Picture Research Council in
Hollywood. They are Sol Halprin, head
of the camera department at Twentieth
Century-Fox Studio, Farciot Edouart, in
charge of special photographic effects
at Paramount Studio, and Ub Iwerks,
head of Special Processes at Walt Dis¬
ney Studio.
• • •
A.S.C. Member Ira Morgan's name was
inadvertently omitted from the credit
titles on Screen Gem’s “White Buffalo,’
TV him drama which Morgan photo¬
graphed and which was televised na¬
tionally on October 14th.
• • •
Don Malkames, A.S.C,, of Tuekahoe,
New York, last month was directing the
photography of “The Burglar,” Samson
Productions feature starring Dan Dur-
yea, Martha Vickers, Jayne Mansheld.
Mickey Shaughnessy, and Peter Capell.
and filmed on the East coast.
• • •
“Phantom Horse,” feature him produc¬
tion of the Daiei Motion Picture Com¬
pany, Tokyo, and photographed in
Japan by director of photography N.
Takahashi, was the program feature of
the October 10th meeting of the Ameri¬
can Society of Cinematographers, cour¬
tesy of Samuel Goldwyn, U. S. dis¬
tributor.
The hue color photography was round¬
ly applauded by Takahashi's Hollywood
contemporaries, and the production as
a whole was considered one of the best
to come out of Japan studios in some
time.
• • •
Another Japanese him to be previewed
in Hollywood last month was “Shuzenji
Monogatari” (“The Mask of Destiny"’),
photographed in Eastman Color and
produced by Shochiku Company, Ltd..
Tokyo. Screening was held at the club¬
house theatre of the Screen Director’s
Guild, to which the A.S.C. membership
was also invited.
• • •
Elected to Associate Membership in the
American Society of Cinematographers
last month were Lou Vincent, who is
associated with Filmservice Laborato¬
ries, Inc., Hollywood, and Mr. Ub
Iwerks, one of the pioneers in the ani¬
mated cartoon industry and presently
Director of Special Processes at the
Walt Disney Studio in Burbank.
634
\ m er ican Cinematographer
November, 1955
CAMERETTE
Now Available with Two
Important New Features!
★ Adapted for CinemaScope
★ Sound Blimp with Reflex Viewing
Now for the first time a lightweight camera for CinemaScope photography — the
.^5mm Camerette with CinemaScope aperture, with full CinemaScope field visible
through the reflex viewer. Auxiliary turret and matte for regular photography.
New magnesium alloy blimp with viewing through the taking lens at all times through
the Camerette s reflex finder, making a lightweight, fully blimped combination 16mm
or 35mm camera. Synchronous motors — 110-v single phase, 220-v three phase.
W rite for descriptive literature
BENJAMIN- BERG COMPANY
1410 N. VAN NESS AVE. • HOLLYWOOD 28, CALIF. • Hollywood 2-0871
ONLY THE CAMERETTE HAS
Ability to use both 16mm and 35mm
1dm in one camera.
Reflex viewing through the taking
lens at all times for both film sizes.
Sound blimp with reflex viewing,
making a fully blimped, instantly
interchangeable 16mm or 35mm
camera.
Patents Coutant-Mathot
Manufactured by Eclair, Paris
hand rewind
negative rewind set
differential rewind
power rewind
1
<£&
precision film editing equipment
HOLLYWOOD FILM COMPANY
HO 2-3284
956 NO. SEWARD ST.
HOLLYWOOD 38
CALIFORNIA
synchronizer
split reels
film racks
editing table
vault cans
swivel base
tightwind
film storage cabinet
at better dealers everywhere
NAIDICH
ONE OF A SERIES
Each step
is given careful thought and
DELIBERATION
for, to neglect any phase
/■
as ‘unimportant’ is to jeopardize
the entire process.
COMPLETE 16mm & 35mm SERVICES, including
MAGNETIC STRIPING... ANY WIDTH... ANY POSITION.
16mm COLOR PRINTING.
"Sw*
Jt
'
;
^ mm
ttw#
. ,
mmm
■ X
a#**
GENERAL FILM LABORATORIES CORP.
1546 NO. ARGYLL • HOLLYWOOD 28, CALIF. • HO 2-6171
= New 35 mm Model 2A ==
== With 180° Shutter —
i A TRULY GRtM. I
CAMERA i
EE for TV, Newsreel
= and commercial
— For tough and trying assign- —
= ments, ARRIFLEX 35 is in a EE
‘^z class by itself. Reflex focusing ~
■EE through photographing lens EE
~ z while camera is operating — »
— this is just one outstanding EE
ARRIFLEX feature. ~
EE Equipped with bright, right- EE
~ side-up image finder, 6 Vi x EE
EE magnification. Solves all par- EE
=z allax problems. 3 lens turret. =
— Variable speed motor built ~
into handle operates from ~
= lightweight battery. Tachom-
EE eter registering from 0 to 50 EEE
— frames per second. Compact, =
i~ lightweight for either tripod E
^zz or hand-held filming. Takes
200' or 400' magazine. Write EE
~ for free folder. EE
— Blimp now available. —
— 16mm ARRIFLEX also available.—
TURNING BACK THE CLOCK
To Scenes of Yesteryear
IN FORMAL RAIMENT, you can't tell a cameraman from an actor. So to make it easy
for you, we’ve put an arrow (1) on Irving Glassberg, A.S.C., (2) on Milton Krasner, A.S.C.,
and (3) on Harry Hallenberger, A.S.C., so vou can readily identify them in this still made
in 1934. Festive occasion honored Adolph Menjou on 20th anniversary of his debut as film
player while he was starring in the Charles R. Rogers’ production, “The Great Flirtation,”
filmed at Paramount.
MAN FROM OUTER SPACE? Long be¬
fore the days of space talk, Elmer Dyer,
A.S.C., was one of the most sought-after
aerial and stunt cameramen in the indus¬
try. Way back in the twenties, he rigged
up his camera on the rear of a motor¬
cycle to shoot a six-day bicycle race. He’s
still an active cameraman in Hollywood.
AH ! THE GOOD OLD DAYS — the “hectic twenties” when soundies made their debut,
making it necessary to shoot on the sound stage in soundproofed sweatboxes like the one
shown here. Peering from left window is Phil Tannura, A.S.C., who now shoots the Burns
and Allen TV shows. Framed in the right window is Walter Strenge, A.S.C., who — now
sans moustache — photographs the “This Is The Life” TV series for Family Films in Hollywood.
The third man, a camera assistant, is unidentified.
638
American Cinematographer
November, 1955
ARRIFLEX
16mm Mirror Reflex Camera
rJP
ARRIFLEX
Model 1 1 A
35mm Mirror Reflex Camera
Sound
for Arr
Blimp
i 35mm Camera
MORE THAN 35 YEARS DEVOTED TO THE DEVELOPMENT AND
MANUFACTURE OF FINE MOTION PICTURE EQUIPMENT
FOR FILMING, PROCESSING AND PRINTING.
Since the formation of the company in 1919, the name
Arnold & Richter has been identified with the finest equipment
in the field. Through progress engineering, ARRI technicians
have pioneered many advances in movie technique.
Today, ARRI Equipment is used the world over — by noted
cameramen, in leading laboratories — wherever important
films are in the making.
Contact and Optical Printers
16mm & 35mm — sound & silent
color and black-and-white
Sole U. S. Agents
PHOTO CORF.
235 Fourth Ave., New York 3, N. Y.
7303 Melrose Ave., Hollywood 46, Calif.
Film Processing Machines
16mm & 35mm — color and black-and-white
This word, in film processing, is a very important
word indeed.
People tell you that one film processing job
is as good as another, and what the heck, what’s the
measure of accuracy, anyway?
Well. To answer that one would take a very long time.
Suffice it to say here that it’s summed up in
all the operations of a processing job, where even
the smallest details are of great importance.
It shows everywhere, and it positively shines when
the film appears on the screen.
What we’re talking about, of course, are the people
and the operations at Precision Film Laboratories.
Here attention to detail, sound, proven techniques
are applied by skilled, expert technicians to
assure you the accurate, exact processing your films
deserve to justify your best production efforts.
Accuracy is a must for TV — for industrials — for
education — for all movies.
you’ll see
FILM LABORATORIES, INC.
21 W est 46th Street, New York 36, New York
A DIVISION OF J. A. MAURER. INC.
In everything, there is one best ... in film processing, it’s Precision
The One-Stop
npplv
Hollywood HFC Synchronizers
Ulantj
35mm
$125
• Sprockets cut to close tolerances
• Veeder-Root Counters & locking device © Frame dial
O Highest quality precision workmanship • Cast aluminum machined
• Built for heavy day-in day-out use • Instant Pad Roller Release
Complete line includes standard and special arrangements
for 16mm and 35mm magnetic or optical sprocketed film.
Ecco 1500 Speedrol
Film Cleaner & Applicator
Saves Time ,
Money, Film!
Priced ONLY
$29.50
Fills the gap between impractical and wasteful hand-cleaning
methods and expensive automatic machines. Cleans all film as
you inspect it!
• Even flow,- no fluid evaporation or leakage.
• Film wiped thru compact woven flannel cloths.
• Fed to takeup reel dry.
• Produces clean polished film.
• Makes film static free, lubricated, pliable.
• Gives film longer, brighter life.
TAKE ADVANTAGE OF
S.O.S. TIME-PAYMENT PEAN
Convenient payment terms arranged. You may
apply your idle or surplus equipment as a trade-in.
5.0.5. Has FOUR REST DEAF
ON
The ALL NEW
AURICON PR0-600
j'Ot' 16 mm Optical Sound - On - Oi (m
Professional
Picture Camera with
Built-in Features
“Auricon Pro-600 " with Lens
Blimping Hood, Auto Parallax
Finder with Magazine, Tripod
‘Auricon Pro-600" with Critical
Ground-Glass Focusing, 3-Lens Turret
Auricon Pro-600’’ with Single-
Lens “C" Mount, Tele-Finder
Objective, View Finder, Magazine
★ Self-blimped for completely quiet stu¬
dio operation. The whisper-quiet film
flow of The "Auricon Pro-600" is
silent proof of precision design. Your
sound-recording microphone never
picks up "Pro-600" Camera noise!
★ 600 ft. film Magazines with Auricon-
Electromatic Take-up, for 16 minutes of
continuous "Talking-Picture" filming.
★ Synchronous Motor Drive for "Single-
System" or "Double-System" Re¬
cording.
Available at added cost is "Single-
System" equipment for Optical Sound-
Track-On-Film, "C-mount" Lenses,
Film Magazines, View-Finders, 3-Lens
Turret, Critical Ground-Glass Focusing,
Lens Sun-Shades, Tele-Finders, etc.
Sold with 30 day money-back guar¬
antee, you must be satisfied!
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DIRECTOR
SOUND SCENE
TAKE
IN PLANNING the exterior photography of “The Tall Men,” the ticularly true with the close shots, as shown here. The figures in
aim was to maintain a feeling of “bigness” in the scenes in the foreground were backdropped by mountain vistas, the herd
keeping with the scope of the CinemaScope frame. This was par- of moving cattle or the wagon train.
Shooting The Big Scenes For "The Tall Men
n
IN ANY DISCUSSION of the photography
of “The Tall Men,” the opening se¬
quence filmed in the snow and the cli¬
mactic scenes of the
Leo Tover, A.S.C.
moments of the
both in actual size
cattle stampede must
be considered apart
from the rest of the
photography, if for
no other reason than
the very scope of the
photographic opera¬
tions involved. The
thrilling cattle stam¬
pede , which high¬
lights the closing
film, is the greatest
and dramatic impact,
By LEO TOVER, A.S.C.
of any yet filmed by a Hollywood mo¬
tion picture company. It involved more
cattle, more horses, more film players,
and more technicians than any similar
undertaking in the annals of motion
picture history. And it demanded almost
military-like planning and execution in
the photography, due to the vast number
of elements involved — human and other¬
wise.
A task hardly less monumental was
the photography of the exterior snow se¬
quence which opens the film and shows
Clark Gable and his saddle-partner
Cameron Mitchell riding through a
treacherous mountain pass in a blizzard,
enroute to the frontier town of Mineral
City, Montana. This action was filmed
during actual snowstorms in the vicinity
of Sun Valley, Idaho.
But we’re getting a little ahead of the
story.
Months before shooting began in Sun
Valley on this 20th Century-Fox Cine¬
maScope production, there was an ex¬
tensive period of pre-production plan¬
ning, much of which involved lengthy
visits to various regions of the West for
644
A m i :r i ( : a n Ci n em atogr ap h er
November, 1955
the purpose of scouting locations. Nor¬
mally. the layman thinks of the director
of photography’s task as a simple matter
of arriving at the location site and then
lining up the camera to encompass the
scene or action described in the shooting
script. This is rarely the case, and defin¬
itely was not so in the case of “The Tall
Men.” The planning of the photography,
selection of locations, estimating the
equipment requirements for such a vast
undertaking — all this became a major
pre-production phase of the picture’s
overall planning. Our biggest problem
was finding the many locations that were
specified in the script. Each particular
sequence of the vast overland trek, which
is the basic story action, had to be en¬
acted in a different location. In the pic¬
ture, Gable, Cameron, and Robert Ryan
undertake to drive a tremendous herd of
cattle north from Texas to Montana.
Actually, the long ride of these men
begins in Montana — in the snow coun¬
try thence to the Mexican Border and
hack to Montana. Director Raoul Walsh.
Unit Production Manager Joe Behm,
Art Director Mark-Lee Kirk and myself
covered hundreds of miles, searching for
just the right locale for every exterior
scene of the story.
None of the Sun Valley locations were
easily accessible nor had any of them
ever been photographed before. All these
locations had to be opened to us by
snowplows; cameras had to be brought
in by ski-sleds; and pack-horses were
used to convey the vast array of other
equipment we used. With four feet of
snow on the ground, and the temperature
standing steadily at twenty below zero,
it was a rough location to work in.
The intense light that prevailed on
the exterior snow scenes presented quite
an exposure problem. The CinemaScope
lenses can be stopped down only to f/16
and on most occasions the meter reading
was above this figure. Filters were there¬
fore used to diminish the light reaching
the film. I used two: one, the combina¬
tion 85-30 neutral density filter, which
cut one stop, was used quite a bit of
the time; and on the day-for-night shots,
the combination 85-60 ND filter, which
cut exposure two stops, was used.
Most of the close shots for the snow
(Continued, on Page 668)
MAKING A long dolly shof on the longest dolly tracks ever laid
for a location exterior. From the laying of tracks to executing the
actual takes required almost military-like planning and execution.
A CLOSER view of the dolly-mounted camera as it moved along
with Clark Gable and Cameron Mitchell for a two-shot backed by
the vast herd, the horses, and the moving wagon train.
SEEN ABOVE are the “snorkle” stacks mounted on the huge arc
lamps. Their purpose is to direct the wind-borne smoke issuing
from the arc lamps out of camera range. Also to be noted in
these pictures is the unusually light camera equipment used.
THE VERY realistic "exterior” constructed on one of the sound stages
at Twentieth Century-Fox. Here it was important to carefully match
the weather, and the quality and direction of the lighting as it
existed in the real scene on location.
American Cinematographer
November, 1955
645
TOUGHEST, THINNEST FILM .
• •
Du Pont’s new Cronar polyester film base, now in
production and soon to be made available in motion
picture negative and positive films, holds many
benefits for the motion picture industry.
Thinner, tougher, and out-performing present cellulose
triacetate film base in many ways is Cronar — new poly¬
ester film base developed by Du Pont. Cronar, brother of
Mylar polyester film and half-brother to Dacron polyester
fiber, is at least two times stronger than conventional film
bases.
In the realm of motion pictures, the film promises more
durability, improved optical quality, and chemical and
dimensional stability. It promises the industry a film base
that will not break as easily as today’s motion picture film.
A six-foot loop of Cronar base showed virtually no sign
of perforation failure after more than 3,000 projections,
while the film base now in use failed after 1.500 projections.
Tests at Du Pont’s Photo Products Research Laboratory
showed that Cronar base could be flexed more than 15.000
times before breaking. Present film base on the other hand,
broke after forty flexings.
Cronar is destined to be the film base of the future, sup¬
planting the present triacetate film. Early last month the
Du Pont Company announced that it had licensed Eastman
Kodak Company to manufacture polyester photographic
base and film under Du Pont patents. The license, which
is non-exclusive and non-transferable, grants Eastman and
its subsidiaries the right to make polyester film base and
use it in making photographic film.
Du Pont has been producing pilot plant quantities of
Cronar for the past three years and is currently starting up
a large-scale unit to manufacture the new base at its Parlin,
N. J., plant where existing facilities will be used to convert
it into finished photographic film. Du Pont has given its
AT PRESENT, splicing of Cronar film is by means of adhesive
Mylar tape, as demonstrated here by DuPont's Wilton R. Holm
(center). Alternative splicing techniques are in final stages
of development and will be announced prior to full com¬
mercialization of Cronar film.
polyester base and the photographic film made therefrom
the trademark, Cronar.
Dr. Deane R. White, at the opening session of the Society
of Motion Picture and Television Engineers at Lake Placid
Club, New York, last month read a paper on the subject
of this new film base which he had prepared in collabora¬
tion with Charles J. Gass, Emery Mescbter and \K ilton R.
Holm.
Among other things the paper points out that very early
in the development program of this new film base it be¬
came apparent that, because of the outstanding strength
and durability of polyester base, it might be feasible to
reduce the thickness of motion picture film support signifi¬
cantly below the 5.5 mil standard thickness used for pres¬
ent film bases. “A survey was made within the industry,”
the paper states, “and the consensus was that such a reduc¬
tion in film thickness would be desirable since it would re¬
sult in such economic and film-handling advantages as more
footage per reel, fewer reels and containers, and less
shipping weight per picture. Early experiments led to
the conclusion that a 4 mil polyester base would give satis¬
factory performance. All data accumulated to date indicates
that satisfactory film structures can be made with 4 mil
base. Actually, for 16mm film, still thinner base appears
646
American Cinematographer
November, 1955
possible, which has important significance in the TV field.
"The use of base 4 mils in thickness allows approximately
35% more footage to be packed in existing 1000-ft. and
2000-ft. film cans. A similar increase in footage can be
expected for camera magazines, permitting longer shooting
without reloading.
""To date, several hundred thousand feet of polyester
safety films of various types and polyester clear leader, all
4 mils thick, made in the pilot plant at Parlin, have been
tested in East and West Coast studios and laboratories. All
the tests indicated that the 4 mil base is able to perform in
highly satisfactory fashion. Tests included printing, proces¬
sing, camera exposure and sound recording operations on
both 35mm and 16mm films. They include standard motion
picture operations as well as certain special industrial appli¬
cations in which film has not been able to perform satis¬
factorily in the past. Some of these applications have been
made possible by the superior toughness and durability of
the film ; others because of its excellent dimensional sta¬
bility.
""Several thousand feet of the film of various types, in¬
cluding camera negative, release positive, master positive,
duplicate negative, and variable area sound recording films
have been evaluated in the Hollywood motion picture stu¬
dios and laboratories under the sponsorship of the Motion
Picture Research Council. In no case did 4 mil films fail
to perform satisfactorily in these tests.
"Tests of negative emulsions on 4 mil polyester base were
arranged to determine problems or difficulties that might be
encountered in production cameras. Tests in Standard and
INSPECTING the very first test negatives ever photographed on
Cronar base are (I to r.) Wm. A. Cushman, A.S.C., of DuPont,
actor Ralph Bellamy, star of “Man Against Crime” TV film series,
and director of photography Don Malkames, A.S.C., who photographs
the “Man Against Crime” series for CBS-TV.
NC Mitchell cameras proved the complete absence of me¬
chanical troubles attributable to the film material and thick¬
ness. Good steadiness and acceptable low camera noise were
shown. High speed, up to four times normal, was included
in these tests at the MGM and Republic studios without any
difficulty. Adjustment of the pressure plate appeared to im¬
prove definition slightly, although tests made without such
adjustments were judged equivalent in definition to stand¬
ard negative film on 5.5 mil base.
"The Motion Picture Research Council supervised tests
at Consolidated Film Laboratories and General Film Labor¬
atories in Hollywood to uncover possible problems or diffi¬
culties of printing or processing 35mm films on 4 mil poly¬
ester base.
"‘These tests included common printing and developing
operations as applied in the making of direct prints, master
positives, dupe negatives and second generation prints.
Contact continuous, contact step and optical printers were
used. All tests were duplicated with a corresponding triace¬
tate film type of 5.5 mil base thickness as a reference.
“Tests made at Du Mont TV, New York, and at CBS-TV,
Hollywood, using P824 low-contrast kine recording positive
filnp showed the film to behave excellently in several kine
recording, cameras and in motion picture film scanners. No
problems are expected to be encountered in using the 4 mil
based films, and the advantages of thinner films for kine
recordings are very definite.”
For the cinematographer — both 35mm and 16mm—
Cronar, or any similar base made under the Du Pont pat¬
ents, promises a more durable film for location handling,
the ability to load more film into present film magazines
(about 35% more), and unusual flexibility at low tempera¬
tures. Of course, as Dr. White and his associates have point¬
ed out in their paper, the behavior of finished film depends
upon the emulsion coating as well as the base. In low-
temperature tests a coated film made with polyester base
was flexed 560 times at 40° below zero before breaking;
corresponding triacetate stock was brittle and shattered
during the first bend. Obviously the new, thin film will
overcome many of the difficulties that are encountered when
shooting on location in cold weather — which alone at once
makes the film something to be anticipated.
According to Du Pont, negative and positive stocks in
the new 4 mil base should become generally available in
quantities early next year.
(The complete technical paper referred to above and
read at the SMPTE convention by Dr. Deane R. White will
appear soon in the SMPTE Journal. — EDITOR). END
American Cinematocraphf.r
November, 1955
647
BOB GRAY, Film News Editor for KPRC, Hous¬
ton, Texas, long has been an exponent of the
use of existing light in shooting TV newsreels.
VA/orking with existing light — shoot-
” » ing only with the light as we find
it on assignment locations — is now al¬
most universal procedure among U. S.
newsreel cameramen. For this, credit is
due film and lens makers who have
stepped up the speed of their products
so that today motion pictures can be
made with surprisingly few foot candles
of illumination.
But is existing light being relied on
all too often to achieve the impossible?
Isn’t there a fairly definite time and
{dace in newsreel work for artificial
light too?
Pictorial quality, it seems to me, de¬
mands a "yes” answer to this question.
A great many TV technical men and
no few viewers of TV are of the opin¬
ion that a great deal of movie film for
television is being shot under poor light
conditions just to prove it can be done.
I’ve been an exponent of existing
light photography since late 1952. To
me it offered a better way to get more
candid pictures than blinding my sub¬
jects with photofloods. I argued then,
and I still do, that the film reporter
should shoot news stories with the natu¬
ral. available light if it is feasible, and
if the subject can he rendered more
The Use Of Existing Light'
In Newsreel Photography
The author, a top TV news cameraman, takes
a stand on the question of “existing light”
versus photofloods in
By BO
dramatic or realistic by this method of
photography. Very often the newsreel
camerman simply has no time to set up
flood lamps. And very often setting up
these lights will cause reluctant subjects
to shy away. Or swing a fist.
So it’s clear that existing light for
fast moving news is a mighty handy tool
of the trade. It follows too that court¬
room photography, for example, may be
possible only by existing light. You
won't convince many judges of your
right to film in their courts by blinding
them with excessive candlepower.
In other words, we’ve all made an
acceptable case for existing light in the
newsreel business. Maybe too good a
case.
The lens makers have produced faster
lenses — some faster than f/1.0. The film
manufactuers have boosted the speed of
new emulsions to the point where nearly
every camerman rates their speed ac¬
cording to his own experience with them.
And, finally, many people have been
so thoroughly converted to existing light
that television screens (proably home
movies too) are showing too much flat,
underexposed film.
On a summer vacation swing through
seven western states I observed one TV
station after another televising film of
meetings and individuals that had been
shot in existing light. It was great to
see how film reporters everywhere are
breaking down traditional camera bar¬
riers. It would have been equally great
to have seen better photography.
On entirely too many film stories it
was painfully apparent that the film
man had ‘control’ over the story, and
therefore could and should have used
some artificial light to produce better
picture results.
Many of us now agree that the only
time when truly poor, flat or dark film
should be televised to the public is when
newsreel photography
B GRAY
the story is so all-fired sensational that
any film on it is an "end of the world”
scoop. And like Gobel says, “You can’t
hardly get them no more.”
Let’s look a minute at what the exist¬
ing light arguments really amount to:
The TV film reporter’s job. in a nut¬
shell, is to tell his story with pictures.
He must show what happened. To do
it, he must be highly mobile, prepared
to shoot indoors and out on virtually no
notice.
He can t have that mobility if he tries,
on every indoor yarn, to make a light¬
ing production of it. Especially with
FILM CLIP from newsreel shot of Houston City Coun¬
cil in action. Problem here was to get maximum
depth of field, since subjects are at varying dis¬
tances from camera. Use of wide-angle lens helped
solve problem. Shot on DuPont 931 at f/1.5;
film given normal development.
648
e
American Cinematographer
November, 1955
WHEN SCAFFOLDING in City Coliseum collapsed during repair job, five
men dropped 60 feet to pavement below. This scene was taken about
4 minutes after crash in about 2 foot candles of light. Shot on DuPont
931 at f / 1.4, and given maximum development.
CLOSEUP of pistol beside hand of man who used it to shoot sweetheart
and himself. Here reliance on existing light made a quick “grab shot”
possible that added considerable emphasis to the sequence. 1-inch lens
used at f/2; normal development.
TELEPHOTO shot of firemen pouring water into a flaming tenement
during a midnight fire. Shot shows how reflected light from fire was
sufficient to produce acceptable quality when negative was properly
over-developed.
THIS LAD, photographed by Gray in a fluorescent-lit classroom, senses girl
in background watching him. But he was completely at ease, oblivious
of the camera, because no auxiliary photo-lighting equipment was used
to make the shot at f/2. 8.
characters who won’t wait for him to
fiddle with cables and bulbs.
So exisiting light’s big advantage is
the ability it gives us to cover much
news in a hurry, anywhere.
Second, existing light can do much to
break down traditional camera barriers
such as encountered often in court¬
rooms. In nearly every big city, judges
are finding that a newsman’s camera in
court, operated by the prudent reporter,
need upset the court’s dignity no more
than the newspaperman’s pencil. And it
has the same basic right to be there.
But the camera probably won’t be
there long if accompanied by eye-sear¬
ing floods.
Finally, there are situations where ex¬
isting light can produce more dramatic
pictures of a story than artificial light.
This is true of some police station-type
stories where ample overhead floures-
cents produce the impact of reality bet¬
ter and with more background detail
than floods can.
And in offices with large picture win-
American Cinematographer
dows, daylight often is as strong and
usable (and easier on the story princi¬
pals) as photolamps.
The one big argument against exist¬
ing light is that when it's not used well,
the results are awful. Fast lenses and
film simply will not “see” light that isn’t
there.
I learned that the hard way once in
1953. 1 was in a hurry, trying to cover
too much with too little time. And one
story involved SOF statements from sev-
(Continued on Page 667)
• November, 1955 • 649-
The Industrial Cinematographer
His importance in private industry is growing daily.
By JOHN W . B A K K E
Many business firms who today are
clients of industrial film producers
owe their success in the use of films to
some lone 16mm industrial cameraman
who once functioned with in the organ¬
ization as the company motion picture
cameraman and film producer. We
know him as the company cinematog¬
rapher. He was once a better-than-
average amateur movie maker, but
more likely he is a graduate of the
cinema class of one of the many Uni¬
versities now offering instruction in
motion picture production. In the
course of making low-cost 16mm films
for his employer, he creates both an in¬
terest and an eventual need for more
important films. hich is where the in¬
dustrial film producer enters the pic¬
ture.
Today, opportunities for industrial
cameramen flourish among large busi¬
ness firms, many of whom are not
yet aware what motion pictures can do
for them in aiding employee training
and public relations, in recording time
THE AUTHOR behind the Bell & Howell
camera which he uses in shooting films
for the A. O. Smith Corp., Milwaukee.
and motion studies, and product tests
and demonstrations.
The established business film pro¬
ducer may question the role played by
the company cinematographer, believ¬
ing the latter is performing the func¬
tion that he is set up to do. Although
occasionally this may be the case, gen¬
erally speaking there is surprisingly
little overlapping of film activities be¬
tween the two. Rather than taking
work away from the established profes¬
sional producer, the company cinema¬
tographer makes the films that could
not profitably be made by the outside
studio. It is the motion picture work
that would never be done at all if it
were not done by the company cinema¬
tographer.
Such jobs as making time and motion
study pictures of personnel or ma¬
chinery; filming infrequent scenes of a
spectacular nature, such as a large
shipment of the company’s product:
record scenes of secret manufacturing
processes; newsreel shots of company
and employee activities; and films dra¬
matizing safe or unsafe working pro¬
cedures or improved material handling
methods. This is the forte of the indus¬
try cinematographer. While such film¬
ing may not always do a big selling
(Continued on Page 664)
OPPORTUNITIES for industrial cameramen exist among many large pictures can train employees, aid product tests and demonstrations,
business firms who have yet to learn how company-made motion and do a valuable public relations job at moderate cost.
EASTMAN
PROFESSIONAL
MOTION PICTURE
FILMS
W. J. GERMAN, Inc.
John Street 6040 N. Pulaski Road 6677 Santa Monica Blvd.
Fort Lee, New Jersey Chicago 30, Illinois Hollywood 38, California
all around the town
wide-screen audiences jump for joy!
Audiences love these wide-screen musicals. They thrill to breath-
taking breadth, get a new feeling of fun, excitement— there-ness.
To make such films brings new technical problems— new opportunities,
too— for the Eastman Technical Service for Motion Picture Film.
Branches are located at strategic centers. Inquiries invited.
Address: Motion Picture Film Department
EASTMAN KODAK COMPANY, Rochester 4, N. Y.
East Coast Division
342 Madison Ave., New York 1 7, N. Y.
Midwest Division
1 37 North Wabash Ave., Chicago 2, III:
West Coast Division a
6706 Santa Monica Blvd., Hollywood 38, Calif.
SUMMARY OF CURRENT WID -S
The development of wide-screen motion picture sys-
* terns has resulted in six well-established methods
now currently in use in Hollywood. A seventh, Pana-
vision, is about to go into use at Metro-Goldwyn-Mayer
studio in Hollywood.
For the edification of our readers, the editors have
presented here both in pictures and text, a summary
of the six systems. With exception of the Cinerama
CINERAMA
CINEMASCOPE
Camera: The Cinerama camera is actually three cameras in
one in that it photographs simultaneously three strips of
35mm negative. The resultant three prints (See below.)
when projected form a wide-screen picture that covers a
field of vision 146° wide and 551/o° high.
The photo above shows the camera from the rear and
reveals the three film magazines. At right is Harry Squire,
cinematographer who photographed the first Cinerama pro¬
duction.
Cinerama is the outgrowth of the famous wartime Waller
Gunnery Trainer, which utilized a five-lens camera of unique
design and five projectors to show airplanes realistically on
a large cu rved screen. The Cinerama three-lens camera is
( Continued on Page 6f4)
Camera: CinemaScope is essentially a copyrighted trade-
name for a system of wide-screen film production developed
by 20th Century-Fox Studio. The photography involves no
special camera but rather depends upon the use of anamor-
phic lenses for producing the picture image which, when
“unsqueezed" during the projection process, produces a
picture with an aspect ratio 2.55 to 1. The 20th Cenutry-
Fox CinemaScope lenses may be used with almost any stan¬
dard 35mm motion picture camera equipped with appropri¬
ate adapters, and having the aperture enlarged to the Cine¬
maScope dimensions.
Lenses: The whole development of CinemaScope has cen¬
tered in the camera lenses. Following acquisition of the first
(Continued on Page 674)
THE 3 Cinerama films (slightly reduced in size) which, when
projected together, form a wide-screen picture on a curved screen.
REPRODUCTION of a CinemaScope film clip printed from an East
man Color negative and showing the “squeezed” image.
654 •
American Cinematocrapher
November. 1955
EEN SYSTEMS OF PHOTOGRAPHY
film clips, which had to be reduced slightly in order
to fit the space, all film reproductions on these pages
are full size and show the comparative negative sizes
used by each of the systems, and also any unusual
VISTAVISION
Camera: The outstanding feature of the VistaVision camera
is the fact the negative travels past the lens horizontally in¬
stead of the conventional vertical manner. This makes pos¬
sible recording a pictures area 8 sprocket holes in length,
and providing a large negative image which undergoes a mea¬
sure of reduction in printing the positive release print. It
also makes possible the screen aspect ratio of 1:66 to 1,
which Paramount Pictures Corp. established sometime ago
as the most ideal screen size for the majority of the nation’s
theatres. VistaVision is Paramount’s answer to Fox’s Cine-
maScope.
The first VistaVision camera was a hasty adaptation of an
old abandoned William Fox “Natural Color” System camera,
(Continued on Page 675)
Ur as HAMT3A3
THE double-frame horizontal negative of the VistaVision camera
has a picture area eight sprocket holes in width.
placement of the image, as in VistaVision, which has
the picture in horizontal position instead of the ver¬
tical, which is standard with all the others.
This feature is continued on the next page.
TODD-AO
Camera: The first Todd- AO cameras were modified Thomas-
Color cameras, designed for use with 70mm film. The sprock¬
ets, movement, etc., were altered by Mitchell Camera Cor¬
poration to take standard Eastman 65mm film. Each frame
is 5 sprocket holes in height. Another feature is the higher
film speed travel — 30 frames per second as compared to 24
for standard 35mm cameras — which was found to smooth
out action on the larger screen. Film magazines, which are
demountable, take 1000-foot rolls of film. Only slightly
larger than the Mitchell 35mm camera, the Todd-AO camera
(Continued on Page 674)
FILM CLIP of Todd-AO 65mm positive printed from a 65mm
negative. Regular release prints with sound track are 70mm wide.
American Cinematographer
November, 1955
655
T.F.C. 4X-55 MM
SUPERSCOPE
Camera: Like CinemaScope, the T.C.F. 4X-55mm camera is
an exclusive Twentieth Century-Fox development. “4X-55MM”
means that the camera uses 55mm film (actually it is
55.625mm in width ) and the frame provides a 4-X or four-
times greater picture area than 35mm. (See film clip repro¬
duction below.) The first 4X-55mm camera was an adapta¬
tion of an old discarded camera which provided enough of
the basic requirements to make its adaptation not only a
speedy operation but an economical one as well. The neces¬
sary mechanical work was done on the T.C.F. lot by studio
engineers.
The camera, which employs an improved CinemaScope
lens, makes possible, along with the wider negative, greatly
( Continued on Page 676)
Camera: Unlike with most wide-screen systems, Superscope
requires no special camera. Basically an anamorphic process,
the squeezing of the image is done in the laboratory, after
the negative is shot. The only requirement in the photography
is that certain limitations be observed in framing the action
- — i.e., the CinemaScope format must be observed in framing,
and this is done by appropriately masking the camera finder
top and bottom.
Thus, in the laboratory, after the negative is developed,
this area is optically printed with the aid of Superscope
anamorphic lenses, producing a print like the one below, at
right. The film clip opposite shows the negative area cov¬
ered by the camera, but does not show the top and bottom
( Continued on Page 676)
REPRODUCTION of the Twentieth Century-Fox 4X-55mm Cinema¬
Scope negative, having 4 times more information recording area.
FILM on left shows area photographed for Superscope and on
right the anamorphic print of the masked and squeezed area.
656 •
American Cinematographer
November, 1955
jf 1
I f it \
j III
P| j
AN INTERNAL film production unit functioning within the Bell Telephone TELEVISION studios offer one of the most promising fields for the
Company, San Francisco. Many large industrial firms offer opportunities 16mm cameraman seeking a toehold in professional cinematography,
for cinematographers. Enthusiasm and resourcefulness are vital requisites.
So, You Want To Be A Hollywood Cameraman...
Major studio cinematography is an exacting and highly compe¬
titive field — a goal a long way off for the amateur and one
with dubious possibilities for the more experienced non-pro¬
fessional. But there are other promising fields, all worthy
of careful exploration if you’re set on a cameraman’s career.
By ARTHUR ROWAN
\A/hat must one do to become a
’ ’ professional cinematographer? Is
there really any chance for an aspiring
non-professional eventually to land a
job in the Hollywood studios? Where can
I train to become a professional Holly¬
wood director of photography?
These are typical questions con¬
tained in letters that are received almost
daily by the Editors or by the Secre¬
tary of the American Society of Cine¬
matographers. Following is one of the
most recent letters received — a letter
that might have been written by anyone
of a hundred other men who, like the
writer, also was trained in combat pho¬
tography by the Army Signal Corps,
likes the work, and would like to make
a paying profession of it:
“Gentlemen :
This letter is very simple. How does
one get to be a cinematographer?
In Chicago, the Union is so tight you
have to be a detective even to find their
offices. If by chance you should meet
a cameraman, as I did, they refuse to
talk about the subject. I think it would
be much easier to find out how the
atom bomb works.
I acquired this drive to be a cine¬
matographer in the Army. They trained
me to be a combat photographer. The
Army being what it is, they sent me to
England where I did photographic cov¬
erage on a B-47 base.
If you have any comments, sugges¬
tions, or sympathy, please forward it to
a guy who is not asking for a break,
just a chance.”
Another:
“Editor:
I am very much interested in cine¬
matography. Would you tell me the
steps that should be taken in order to
become a cameraman in the studios?
Would one have to start as an appren¬
tice in one of the studios, or follow a
course in movie photography at some
school?”
And this one from a GI in Germany:
“Dear Sir:
I am writing for some information
concerning cameramen in the motion
picture field. I already have had 2 years
of college but I plan to make photog¬
raphy my vocation when I am separated
from the Army.
I would appreicate your answers to
( Continued on Page 677)
American Cinematocrapher
November, 1955
657
BEHIND the Cine-Special camera, shooting a scene for his pro- of the splendor of the days of the maharajas before India won
duction “Glory of Bygone Days,” is cinematographer-producer its independence, and was filmed in 16mm Kodachrome. Here
M. P. S. Van Lier, of Bombay, India. Picture is a historical document Van Lier shoots doseup of native who narrates the picture.
Swan Song Of India
India’s independence sounded the death knell of pomp and pageantry of the
maharajas. Yet, before all had entirely disappeared, an imaginative camera¬
man recorded on film the last vestiges of royal splendor as a valuable contri¬
bution to contemporary history.
By FREDERICK FOSTER
Sooner OR later, everyone who has
ever made a motion picture, pro¬
fessional or amateur, finds his way to
Hollywood, mecca of the him world. As
a result, we often see here some very
unusual and interesting films, and are
moved to marvel at the resourcefulness
and the abilities of the imaginative cine¬
matographers responsible for these re¬
markable productions.
Last month one of these him makers
visited Hollywood and brought with him
a most unusual him which he photo¬
graphed in India in 16mm Kodachrome.
The cinematographer-producer is M. P.
S. Van Lier of Bombay, India, The
him, “Glory of Bygone Days,” a docu¬
mentary of a fast disappearing way of
life in India.
Following the granting of total inde¬
pendence to India some years ago,
marked changes in the way of life of
its inhabitants began to take place. The
maharajas no longer wielded the cower
of former years and although they re¬
tained. in most instances, their rich
land holdings and their wealth of fab¬
ulous jewels and jewelry, they gradu¬
ally dispensed with the pomp and splen¬
dor that had been tradition in their
lives, dating back to their ancestors.
Van Lier, who had lived in India
for more than a decade, observed what
658
American Cinematographer
November, 1955
TO PHOTOGRAPH the fabulous collection of jewels of one maharaja, Van
Lier was permitted to bring them out of doors in the palace courtyard where
he filmed them against a backdrop of soft black velvet. These rare pieces
are seen in vivid doseups in Van Lier’s production.
AN INTERESTING sequence of “Glory of Bygone Days” is
devoted to the animal life of India and the native pro¬
cedures for hunting same. Here Van Lier poses with a
cub which he tamed for a pet.
was taking place and realized its im¬
pact on history. He saw that eventually
all the age-old customs of the mahara¬
jas were distined to disappear and that
their long reign was virtually at an end.
Here, he thought, is vital history in
the making. And being an experienced
and resourceful film maker, he took ad¬
vantage of the opportunity to put on
film in color and sound the last vestiges
of the glory, the fabulous pomp and
pageantry of yesterday’s India while
there was yet time. His multi-reel docu¬
mentary in 16mm Kodachrome entitled
Glory of Bygone Days is the result.
Van Lier, who has been the motion
picture photographer of maharajas for
a long time, put to good use his long
friendship with Indian royalty. Many
of the maharajas, maharanis and their
relatives make personal appearances in
the picture in scenes filmed within their
palatial homes and palaces, and also in
many of the picturesque state cere¬
monies.
The production is the result of pains¬
taking labor spread over a number of
years and shot on the spot. That is, in
the actual locales. Many of the scenes
contained in the film contribute a use¬
ful record to contemporary history, as
these are not likely to be seen again
now that the maharajas have given up
most of the pageantry and colorful
pomp and ceremony which onlv very
recently was their natural daily mode
of living.
The picture begins with scenes of an
Indian village — the real India — then
skips to a vast modern construction
project as a means of pointing up the
progress already taking hold of the
country. The story of the glory in which
the rulers of native states lived and its
contrast with the daily life of the poor
classes is told in this film through the
narration in English of Sham Desai,
who himself has grown gray and feeble
with years in the service of royalty.
( Continued on Page 672 )
USING a hand-held 16mm camera, Van Lier moves in for a closeup of a Princess enroufe
to a festive affair in her gold carriage. Van Lier’s photography has recorded the rich
colorings and exquisite quality of all the material things associated with Indian royalty,
and soon to be a thing of the past.
American Cinematocrapher
November, 1955
659
Amateur
CINEMATOGRAPHY
THE NEW Brownie 8mm Turret Movie Camera brings the most
amateur of movie makers telephoto and wide-angle lens effects
with a mere twist of the wrist. New departure in lens design
makes use of “converter” lenses to give all the versatility of
cameras costing twice as much.
Veteran amateur movie makers can remember when own¬
ing a cine camera having a turret with full complement
of lenses was an all-consuming ambition. A camera such as
this was a genuine luxury, owned by a comparative few.
Today, a turret camera in the popular priced field — sell¬
ing for under a hundred dollars — has become a reality.
With a twist of the wrist, the amateur can now shoot a scene
with the standard lens, reach out for a wide-angle view, or
pinpoint it telephoto fashion — without focussing or re-setting
for exposure. This last feature is something early-day
amateur movie makers never had.
New Kodak Cine Cameras
Simplify Movie Making
With a twist of the wrist you can shoot with
a standard lens, reach out for a wide-angle
view, or pinpoint it telephoto fashion —
without changing the focus or f/ stop.
This new concept in amateur movie making is made pos¬
sible with the introduction last month of the newest member
of Kodak's famous Brownie camera family — the Brownie
8mm Movie Camera, Turret f/1.9, selling for about $79.50.
How can Kodak turn out a turret camera with lenses at
such moderate price? The secret is in the ingenious design
which has the camera equipped with a single 13mm f/1.9
lens, fixed focus, within the camera itself. The turret, which
rotates in the conventional manner on the front of the
camera, holds a 24mm telephoto converter, a 9mm wide-
angle converter, and the lens barrel for the standard lens.
Thus the camera has all the versatility and all the effective¬
ness of a camera equipped with three complete lenses — -
standard, telephoto, and wide-angle. The converter lens,
growing in popularity, solves the lens-cost problem without
( Continued on Page 676)
WITH THE new Brownie 8mm Movie Camera, Turret Model f/1.9,
you can swing the wide angle “converter” in place and shoot
a full-scale scene like the one at left. Then, without having to
focus or change exposure, you can switch to the telephoto “con¬
verter” (in circle photo below) and pick out a distant section of
the scene to fill a movie frame, as shown in the picture below.
With the standard 13mm lens in use, you get in-between effects.
American Cinematographer
November, 1955
COLOR
16mm ANSCOCHROME
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Greater color fidelity, even in shadows. Wider latitude!
gj HIGHER FRAME SPEEDS
FOR SLOW MOTION!
Even under dimmer lighting cone
you’d have tried in the pas
can use the higher frame spee
your camera!
Q BETTER MOVIES IN DIMMER LIGHT!
New Anscochrome’s exposure index of 32 lets
you make excellent movies in H the light I
you had to accept as a minimum us-
k ing old-style color films!
FEET
30
Sft\
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7^ GREATER DEPTH OF FIELD!
Use smaller lens openings to
increase over-all sharpness
when you’re extremely close
to the subject and when us¬
ing long focal-length lenses.
^^£Wl£iyi[?£Z. . . . The true color rendi¬
tion of new Anscochrome, including greatl)
improved reproduction of reds and shadov
areas, is making color picture-taking his¬
tory in still photography. You get the same
superb qualities in your 16mm motion pic¬
ture Anscochrome!
ANSCO, Binghamton, N. Y. A Di vision of
General Aniline &: Film Corp. “ From Re¬
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A nscochrome
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DAYLIGHT TYPE ONLY, IN 50 FOOT MAGAZINES AND 100 FOOT ROLLS.
PRICE INCLUDES COST OF PROCESSING!
100' ROLLS $10.40 — 50' MAGAZINES $6.95
Hi
Amateur
CINEMATOGRAPHY
Synchronized Sound With Any Silent Projector
New apparatus now on European markets couples easily with
8mm and 9.5mm projectors to play sound recorded
magnetically on oxide-coated films.
By HAROLD BENSON
\ A/hen magnetic tape recorders first became available,
* » the amateur movie maker's dream of sound accom¬
paniments seemed to have been realized. But the difficulties
of syncronization soon became apparent. Background music
presented no problems, but commentaries and effects were
apt to be at odds with the screen image.
The endeavors of amateur and professional engineers to
maintain accurate synchronization met with varying de¬
grees of success. Then magnetic stripe projectors arrived,
to be welcomed with the acclamations that tape recorders
had at first received. A simple matter of applying a thin
stripe of iron oxide along the edge of him which had already
been processed, and spot-on sync sound could be there for¬
ever — unless erased in a careless moment.
Anyone with sufficient ready cash can now obtain a 16mm
sound projector which will play stripe and optical tracks,
selectively and record commentary, music and effects mag¬
netically. But these semi-Utopian machines have been pri¬
marily designed for commercial use, which means that they
carry a commercial price-tag.
The awful thought that magnetic stripe might vanish as
rapidly as it appeared is also responsible for a certain
BRITISH-MADE Peterson Magnetic Recorder is an efficient port¬
able unit which enables practically any silent film projector to
be used as a complete sound recorder-projector. As shown, the
speaker is housed in demountable cover of the attractive case.
Illustrated is the 8mm model; 16mm model is due soon.
PHOTO at right shows how projector is mounted on top of the
Peterson unit and the sound-striped film is run directly to the
recorder from the lower projector sprocket. The apparatus
records as well as reproduces, and the sound is always in sync.
amount of wariness on the part of the majority of amateurs.
It wouldn't be the first time that some of them had found
themselves left with an expensive item of equipment fit only
for a cinematic museum.
But in Britain, at least, manufacturers seem anxious to
quiet these qualms. Two new pieces of apparatus designed
for the cine addict who wants to add stripe tracks to his
films on his own projector have recently been announced.
One, the Peterson Magnetic Recorder, is for 8mm projectors,
and the other, the Pathescope Aurator. is for 9.5mm ma¬
chines. (9.5mm is still a popular gauge in this country).
Both companies intend to bring out 16mm equipment of a
similar nature soon.
I have attended private demonstrations of both these re¬
corders, studying them purely from the point of view of the
lay amateur who wants good quality synchronized tracks as
inexpensively as possible. Comparisons may be odious, but
662
American Cinematographer
©
November, 1955
under the circumstances they were inevitable. The Peterson
costs almost twice as much as the Aurator, hut gives — as it
ought to — a superior performance.
Both the recorders take the form of separate units which
stand beneath the projector, as shown in the accompanying
illustrations. The Peterson costs approximately $276.50.
(The 16mm model will sell for approximately $332.50), but
the cheapest microphone, stand, cable, headphones and cover
cost nearly another $28.00. The Aurator is only $159.60
complete. These are the prices in London.
The Peterson's loudspeaker is contained in the lid of its
case which measures 18 ins. by 11% ins. by 91 A ins. and
weighs 32 lbs. Any 8mm projector with a variable resistance
for speed regulation can be used with the recorder. L.I.F.
Magnetics, Ltd., who are distributing the Peterson in Brit¬
ain, make the necessary modification (which simply involves
connecting the sliding resistor in the recorder in series in
the circuit of the projector motor) for about $4.00.
The striped him is threaded through the projector in the
normal way as far as the lower projector drive sprocket,
from which it runs straight down to the recorder. The him
path through the recorder is simple: — around three idler
rollers, past the sound head, around the drive capstan and
another idler roller and onto the take-up spool, which is
htted in the recorder.
The motor of the recorder operates the machine at 18 or
24 frames-per-second. Why 18 rather than 16? Peterson,
the Dutchman who invented the recorder, believes that
amateurs invariably project their films a little faster than
they shoot them. The 24 f.p.s. speed is intended for screen¬
ing professional films with magnetic sound tracks, which
should soon make their appearance on the market.
Synchronization between the speeds of projector and re¬
corder is ingeniously checksd by the second idler roller,
which is internally connected to the sliding resistor previ¬
ously mentioned. The roller is lightly spring-loaded and is
free to move along a curved slot. When the roller is in the
center of the slot, both machines are in sync.
If the projector runs too fast, the loop between projector
and recorder grows, and the roller slackens to the left, caus¬
ing more resistance in the circuit and thus slowing down
the projector motor. Similarly, if the projector runs too
slow, the roller is pulled to the right, and the opposite pro¬
cedure occurs.
Music and speech can he recorded together, as two inputs
are provided, one for microphone and one for record
player. But as recording automatically erases a previous
track, it is impossible to add commentary on top of music.
Headphones can be connected to the machine to check the
comparative volumes when recording both simultaneously,
and a magic eye indicator shows the modulation level.
The sound quality at 18 f.p.s. (which means a recording
speed of less than 3 inches per second) is astonishing. Voice
reproduction is more than satisfactory, and although there
was slight flutter on the rather testing music I recorded, a
piano accompaniment recorded the previous day bore no
trace of it. Projector noise can be heard behind speech,
unless the commentary is given by someone other than the
operator, when the microphone can be placed far enough
away from the machine to avoid projector whir altogether.
Music covers the sound sufficiently even when mike and
projector are quite close.
Although high music and bird songs are beyond the
range of the Peterson (as the slow recording speed sug¬
gests), its performance is remarkably good. Incidentally,
exchanging idler rollers and adding a feed spool turns the
machine into an excellent tape recorder. The only draw¬
back is the price, which is unlikely to drop for some time.
About 40% of the parts are made in Britain and shipped
to NV Hollandse Signalapparaten for assembly. Unfortu-
nately import duty is payable on all hidden parts when the
complete recorder is shipped into the country, which means
that only the case is duty-free. This paradoxical situation
(laying import duty on British items — seems likely to
persist.
I saw a prototype model of the 16mm machine, which but
for its bigger motor and soundhead and an additional roller
for larger spools, is almost identical to the 8mm machine.
(Continued on Next Page)
THE PATHESCOPE Aurator is a complete record-playback unit
designed especially for use with Pathescope 9.5mm projectors.
Unlike the Peterson, illustrated at far left, the Aurator has no
motor and depends upon the projector to draw the film over
the sound head, and maintain it at the necessary 16 f.p.s. speed.
THE AURATOR is placed beneath the projector and the film
threaded through the sound-head assembly, as shown at left;
it then proceeds to the regular takeup reel of the projector.
Correct sound speed is maintained by watching the stroboscope
and adjusting the projector rheostat.
American Cinematocrarher
November, 1955
663
Convert Your Auricon
Pro or Cine -Voice to
Accept 400Jt Magazines
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The most satisfac¬
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rolls from 5 0'
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film. Your camera
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verted, or we can
supply complete
new units on order.
Thoroughly tested, approved
and in use by major TV sta¬
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• Magazine will accept up to 500 feet of film.
• Signal light tells when camera is running.
• Direct drive — no lag or speed-up of film travel.
• Extremely accurate Veedor reset-type footage
dicator built in.
• Extra camera monitor phone jack.
• Exclusive ball-bearing shaft magazines.
• Canon lock-on plugs for all sound cables.
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SYNC SOUND WITH ANY PROJECTOR
(Continued from Page 663)
It is expected to appear in Britain about
the end of this year.
The day after seeing the Peterson I
went out to Pathescope’s head office in
the northern outskirts of London to have
a look at the Aurator. The major reason
for the difference in price was obvious
at once. The Aurator has no motor, and
relies solely on the projector it’s used
with for its speed of 16 frames-per-
second.
The lack of a truly constant speed is
a serious drawback, and is not entirely
overcome by the stroboscope disc em¬
bodied in the magnetic head. Any com-
mentator-cum - recorder - cum - projection¬
ist is going to be fully occupied. He’s
apparently expected to keep one eye on
the screen and the other on the strobe
disc while taking a quick glance now
and then at the volume indicator, a neon
lamp.
Perhaps my earlier reference to the
Peterson’s superior performance is a lit¬
tle unfair, for the circumstances of the
demonstration of the Aurator made it
impossible for me to judge the real
capabilities of this machine. The first
recording I heard sounded more like an
advertisement for the “snap, crackle and
pop” of a breakfast cereal than for an
item of equipment which, to quote
Pathescope, “marks the fruition of
many months of research and work on
the test bench.”
Interference from the motor of the
Pathe 9.5mm Gem projector seemed to
he the cause.
I have since been told that the inter¬
ference actually came from a nearby
16mm stripe projector which had inad¬
vertently been left switched on. The
Gem motor noise was, in fact, sup¬
pressed.
The quick jangle of piano music re¬
corded by the demonstrator seemed to
me a rather crafty choice, for it was
quite impossible to detect any wow in
the recording. I should have liked to
hear violins; but the manufacturers in¬
sist that “the Aurator must not be con¬
sidered as a suitable medium for con¬
cert quality reproduction or for use as
a solo musical instrument.”
This rather unfortunate demonstra¬
tion might make any further comment
unjust. In any case, this machine is only
suited to 9.5mm and will not, in its
present form, be of great interest to U.S.
readers. When the 16mm Aurator be¬
comes available, I hope to report at
greater length on its operation and per¬
formance, as I believe that it may find
its way to the American market.
THE INDUSTRIAL CINEMATOGRAPHER
( Continued from Page 650)
job for the company, it invariably of¬
fers a film solution to many company
problems.
For the 16mm cinematographer en¬
tering this type of work, the following
advice and information may prove
beneficial. A prime requirement for a
good company cinematographer is a
realistic attitude regarding his own ca¬
pabilities and limitations; it is senseless
to try to duplicate the facilities and
services that are readily available from
established commercial laboratories.
He should have a good working
knowledge of his company’s organiza¬
tion. He should know by sight the more
important executive personnel and de¬
partment managers.
He should be familiar with plant lo¬
cations and manufacturing operations
and know the “chain of command,” so
that the proper people are notified
whenever shooting is to be done in any
department of the plant.
He should know the company safety
rules and observe them faithfully.
He should be acquainted with the
power requirements of his motion pic¬
ture lighting equipment and be able to
arrange for electrical service in any
part of the plant when needed.
He should be familiar with company
transportation facilities and know how
to obtain temporary labor when needed
to assist in moving of equipment or film
production.
The company cinematographer
should have a thorough knowledge of
all technical processes to be photo¬
graphed; when in doubt, he should
know whom to contact for authoritative
information. He should cooperate with
manufacturing personnel when photo¬
graphing in the plant. If production
must be interrupted due to the require¬
ments of the film, permission should
be obtanied beforehand from the de¬
partment head. hen such permission
has not been granted, care should be
taken not to cause a loss of productive
time for any employee. When heavy
electrical cables are to be connected
for set lighting, they should be run and
patched into the master switch boxes
during non-productive hours, if their
connection would necessitate shutting
off machinery in active use that is con¬
nected to the same box.
664
American Cinematographer
November, 1955
• SIZE: 76"x50"x24"
• WEIGHT: Approx. 475 lbs.
WRITE FOR FULL DETAILS AND LITERATURE
Filmline
MODEL R-15
REVERSAL FILM
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NEW Complete Daylight Operation! No darkroom.
Removable daylight magazine.
NEW Quality Throughout! Heavy gauge stainless
steel tanks. Filtered air intake.
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rsal film at 1200 ft. per hr.
tive film at 1200 ft. per hr.
Good, basic camera equipment should
be kept in readiness for any need. A
reliable hand camera with sturdy tripod
and a normal complement of lenses, an
exposure meter, a small stock of film
(both color and black-and-white) and
some portable lighting equipment
should be on hand at all times. Your
chief value to the company is your
ready availability when the need for
filming an event arises. While the basic
equipment listed above can be aug¬
mented until your department looks
like a miniature Hollywood studio, sev¬
eral serious questions should be an¬
swered before any complex or expensive
items are acquired: They are:
1. Will the equipment be used often
enough to return its cost in sav¬
ings over a reasonable period of
time?
2. Do I, or any of the people work¬
ing with me, have enough skill
and experience to operate this
equipment in a professional man¬
ner and will this equipment be
used often enough so that the
operator will know at all times
what the end quality of his prod¬
uct will be?
Laboratory service such as process-
ing, printing, animation, titling, sound
recording, synchronizing and editing
is not necessarily solved by merely
purchasing the mechanical equipment
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AURICONS
all models single system
Cine Kodak Special
Maurer • Bolex
Blimps • Tripods
LIGHTING
Mole Richardson
Bardwell McAlister
Colortran
Century
Cable
Spider Boxes
Bull Switches
Strong ARC-Trouper
10 Amps 110V AC 5000 W-
2000W-750W
CECO Cone Lites
(shadowless life)
Galor Clip Lites
Barn Doors
Diffusers
Dimmers
Reflectors
WE SHIP VIA AIR, RAIL
EDITING
Moviolas • Rewinders
Tables • Splicers
Viewers (CECO)
GRIP EQUIPMENT
Parallels • Ladders
2 Steps • Apple Boxes
Scrims • Flags
Gobo Stands
Complete grip equipment
SOUND EQUIPMENT
Mognasync-magnetic fltm
Reeves Magicorder
Mole Richardson Booms and
Perambulators
Portable Mike Booms
Portable Power Supplies to
operate camera and recorder
OR TRUCK
FRANK C. 2UCKER
American Cinematographer
November, 1955
665
j
*L
AIL MODELS FIT
IN YOUR CAR!
/
For Prices and Literature,
Ask Your Dealer or W rite
CINEKAD ENGINEERING CO.
500 WEST 52ND ST.. NEW YORK 19. N.Y.
PLaza 7-3511
DESIGNERS AND MANUFACTURERS OF
MOTION PICTURES AND TV EQUIPMENT
CINEKAD Microphone Booms
CINEKAD Mike Booms are light in
weight , rigidly constructed , precision
engineered and ideal for location or
studio work.
1 Model BR-12 extends from 6 to 12 feet.
2 Model C-12 extends from 7 to 1 3 feet; hes
external directional mike control.
3 Model “Miracle” extends from 7 to 18
feet; has internal fitted noiseless directional
mike control.
4 Model C-18 extends from 7 to 19 Vi feet;
has external directional mike control.
5 “Fishpole” mike boom extends from 6 to
12 feet. The monopod feature permits op¬
erator to handle “Fishpole” mike boom for
hours without fatigue.
Each CINEKAD Mike Boom has a sturdy
5- foot stand, which can be elevated to a
height of 10 feet.
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AND CINEMATIC
FOR PROFESSIONAL AND AMATEUR
The World's Largest Variety of Cameras and Projec¬
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HOLLYWOOD CAMERA EXCHANGE
1600 Cahuenga Boulevard
HO 9-3651 • Hollywood, Calif. • Cable Hocamex
PUMPS
Centrifugal Pumps for Circulation, Transfer, Mix¬
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proof pump of plastic & stainless steel. Rotary
seal of inert carbon & ceramic. 115 v. h.p.,
pumps up to 20 G.P.M. Inlet 1" hose or
pipe. Outlet for s/4" hose. Same type in '/j, V< ,
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Also
Complete DEVELOPING MACHINES
with Wall Micro-Tension Drive.
METAL MASTERS
5599 University Ave., San Diego 5, Calif.
ATTENTION!
Motion Picture and
Television Producers
FOR SALE A BARGAIN
20,000 feet of 35mm black-and-white
stock scenes and process plates of
44 ALASKA”
Photographed on Background-X. Includes
Icebergs, Glaciers, Harbors, Totem Poles,
Scenic Shots, Inland Passage.
RALPH ST All B
1438 No. Gower • Hollywood 28, Calif.
Phone Hollywood 2-3111
INDUSTRIAL
CINEMATOGRAPHER
(Continued from Preceding Page)
needed to perform these functions. Un¬
less there is a large volume of this
work it may be difficult to justify the
purchase of such equipment and, more
important, to develop the degree of
skill necessary to produce with it films
of professional quality. The versatile
cinematographer capable of getting per¬
fect results through his own efforts in
every phase of motion picture produc¬
tion is a rare bird indeed. So don’t
hesitate to make use of outside services
when necessary and whenever they can
assist you in making your film a top
quality production.
The company cinematographer often
holds the key to all motion picture
activity with in his company. He should
tactfully suggest film solutions to prob¬
lems of manufacturing or marketing.
He should follow up inquries about
films, explain production methods, and
make recommendations about the feas¬
ibility of a film project. He should de¬
cide whether or not an outside film pro¬
ducer ought to be consulted and know
whom to recommend. He may often as¬
sist in setting up a tentative production
budget. Here is where the cinematog¬
rapher may have to sell the value of a
film ; for a “cheap” film is too often
just that. When shown on the screen no
one is going to ask whether it is a
$25 or a $25,000 film — it will be
judged solely on its merits. A mediocre
film is a credit to no one. Be realistic,
therefore, and make sure that you or
the outside producer has a large enough
budget to insure production of a good
film.
Where an outside producer is chosen
to make a more pretentious film for
the company, the company cinematog¬
rapher can render a valuable service by
preparing the way within the plant and
informing the producer of any techni¬
cal or safety problems that may arise.
In addition, he may be able to furnish
“stock shots” from the company’s film
library for the production. As a liaison
man between the company and the pro¬
ducer he can do a great deal to assist
all concerned in the rapid and efficient
production of the film.
Much of what has been set down
here is based on the writer’s own ex¬
periences as director of photography of
the motion picture department of the
A. 0. Smith Corporation, Milwaukee.
Wisconsin. Our film making has often
been challenging and this has invari¬
ably called for resourcefulness and in¬
genuity on the part of all concerned
with our productions. From my per¬
sonal experience, I believe that the
company cinematographer, given the
cooperation and necessary assistance,
can render a valuable service to his em¬
ployer. There are many large industrial
firms utilizing big budget film produc¬
tions today who probably never would
have considered films at all if it had
not been for the startling results pro¬
duced with low-cost films by a salaried
cameraman and jack-of-all-film-trades
employed earlier by the company.
MOVING?
When changing your address, please notify
us at least four weeks in advance. BE
SURE to give your Former address as well
as your New address. Our Circulation De¬
partment needs both addresses in order to
properly identify your address stencil.
Your cooperation will insure that Amer¬
ican Cinematographer will continue com-
i ing to you regularly without delay or
omission of issues. Thank You.
— American Cinematographer
666
American Cinematographer
November, 1955
EXISTING LIGHT
(Continued, from Page 649)
eral VIP's in a dim lit office. It wouldn’t
have taken 15 minutes to set up the
proper lights, and I did have control
over the story situation.
That’s why I was still kicking myself
that afternoon when the film rolled
darkly out of the processor and the
VIP’s all looked like so many zombies.
My meter hadn’t lied really. I had just
expected too much latitude from the
film and had ordered no overdevelop¬
ment.
So, for those now getting their feet
wet in using existing light, a few sug¬
gestions might be helpful.
First, carefully interpret all meter
readings of existing light and tend to¬
ward overexposure. The meter manu¬
facturers, by the way, might well con¬
sider making their products more sensi¬
tive. When you’re dealing with less
than three footcandles, it’s mighty tough
to “expose for the shadows.” The
shadows usually just don't register at all.
Under flourescents it’s possible to get
a good overall reading from the back
of the hand. But if you're shooting a
person’s face, open up an extra stop if
you expect to get complete shadow de¬
tail in the eye sockets. (Turn to P. 668)
Model 35-I6C
SENSITESTER
• NEW TYPE LONG-LIFE
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Combination 35mm-l 6mm
ART REEVES MOTION PICTURE EQUIP.
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Hollywood 46 California
★ IMMEDIATE DELIVERY
to the lab owners interested in —
• DUAL MACHINE
1 — Sensitometer
2 — Scene Tester
• HIGHLY ACCURATE
Electronic timer unaffected
by climatic changes.
The Professional Film Viewer
makes film editing a breeze. Easy
threading, portable, will not
scratch film. Put this viewer between
your rewinders and speed up your
editing. Size of Viewing Screen 6"x 4",
Price — $350
Counter additional $100
FRANK C. ZUCKER
(JumcRfl Couipmem (o.
DEPT. A-11-4 1600 BROADWAY, NEW YORK CITY
for 16mm film
Film Editing Made Easy
with NEW
professional
film viewer
Every film editor will appreciate a
viewer that enables him to view
his film from left to right — on a large,
brilliantly illuminated screen.
American Cinematographer
November, 1955
667
NO MORE
NEGATIVE NOTCHING
DUNNING MAGIC DOT
PRINTER CUEING UNIT
COMPRISES — (1) Supply of high-conductive Anson-
made pressure adhesive tape . . . (21 Special
punch for cutting, affixing and positioning Magic
Dots to film edge ... (31 Roller contacter to
instantly fit Models “D" or “J" B&H printers . . .
(4) Electrical control box for activating light change
and fader impulses.
Consolidated Film Industries’ installation
reports “Over 90,000 changes without
a miss.”
Complete 4-part unit, $360.00
ANSON RESEARCH CO.
4337 Clybourne, North Hollywood, Calif.
IN YOUR FILM PRODUCTIONS
Use CINEKAD Motion Picture
and TV Studio Equipment.
Some of the many new CINEKAD
products are:
® Mike Booms — 5 different models
© Dollies — 7 different models
• Tripod Triangle with clamps
• Tripod Triangle with wheels
© Swivel Ball Joint for Pro-Jr. tripod
• Sync Motor Drive for 16/35mm pro¬
jectors
• Sync Motor Drive for 16/35mm cam¬
eras
• Blimp, Hi-hat and Lens Extension Tubes
for the Arriflex camera
© Shoulder Brace for all 16/35mm cam¬
eras
© Roof-top tripod clamp
© TV Metal Tripod with hand-operated
hydraulic elevator
Write tor New Illustrated Catalog
and Price List.
CINEKAD
ENGINEERING COMPANY
500 West 52nd St., New York 19, N.Y.
PLaza 7-3511
DESIGNERS AND MANUFACTURERS OF
MOTION PICTURE— TV STUDIO EQUIPMENT
The meter cannot always warn you
of the way window light can “bloom”
into your lens, either. Shooting directly
toward windows, from indoors is disas¬
trous, unless you’re exposing for the
scene beyond those windows. Faced
with windows on three sides of a room,
try to shoot from above or below.
Second, don’t get telephoto lens-happy
with existing light. We’ve found it best
to stick to the shorter focal length lenses
for best depth of held when subjects are
apt to move suddenly.
It may take more time to move in for
closeups that way, but it’s simply a mat¬
ter of getting the most depth of held
with the least chance of error. And,
equally important, the least camera
movement.
We shoot perhaps 2000 feet of exist¬
ing light footage per week, and the
13mm f/1.5 lens is used on nearly half
of it. Unless you have a controlled
story and time for tripod and critical
focuser, using lenses longer than 2-inches
(50mm) will incur the risk of soft focus.
Camera movement is a headache with
anything hut a 1-inch lens.
Third, get a fast him you like and
stick to it. We use one him at our plant
for all news and ’features, indoors and
out. (DuPont 931.) Our daily schedule
simply moves too fast for anything else.
It’s often necessary to go quickly from
a story in a dark interior directly to a
beach-front beauty contest.
So we’ve come to know the value of
red and green hlters, the means by
which we cut down the speed of the
fast films to allow their use in bright
sunshine.
Controlled overdevelopment is the
gimmick by which existing light gets
its biggest assist. In some labs at hrst,
the “forcing” of him was a hit-and-miss
proposition. Today they all know how
far they can overdevelop newshlm.
We’ve given DuPont 931, for ex¬
ample, as much as 400 percent over¬
development and have encountered no
fog. True, it gets grainy. But grain is
not apparent as grain when the him is
televised, and is not too objectionable
upon ordinary projection.
So, everything considered, existing
light can be the practical means to cov¬
erage of many difficult story situations.
But it is not all things to all camera¬
men. It is not simple to use on many
occasions.
And from a picture quality stand¬
point alone, balanced, thought-out light¬
ing still produces a better quality image
on TV or home movie screens than the
majority of existing light efforts. That’s
why I think it important that existing
light be kept in proper perspective.
It can be argued logically that news¬
hlm, like all news generally, is highly
perishable. The reporter with typewriter
doesn't “write for the ages” each day.
Similarly, we can’t worry about creat¬
ing daily him masterpieces so much as
trying frantically to capture fully the
elements of every news story we must
cover.
But we have also concluded at our
plant that it is sheer folly to use exist¬
ing light for an indoor scene just to
prove that a picture, however poor, is
possible under those conditions.
We’ve exposed him under less than
one footcandle of light and obtained
usable results. We don’t consider that
good photography, though. Rather, it’s
often a case of no story unless you’re
prepared to shoot under any conditions.
And those who have no access to con¬
trolled overdevelopment would no doubt
be wise to consider hve footeandles
their existing light minimum. Amateur
movie makers also will hnd “bounce”
light a far easier tool to use, I think,
than existing light. Most home movie
fans are dealing with controlled situa¬
tions and bounce light is often the fast¬
est and best solutions to overall room
illumination.
We always make an attempt to bounce
our hoods off walls and ceiling anytime
we can. It makes news subjects more
comfortable and spreads the light.
The first thing we tell newcomers to
our staff is this: “If artificial light is
possible and will improve the picture
quality of your story, use it. If it’s a
fast moving, uncontrolled story, use ex¬
isting light.”
Recognizing existing light limitations
does not, it seems to me, lessen its value
to us all.
Used properly, existing light can pro¬
duce the most factual, hard-hitting news
records of events now possible with film.
END
SHOOTING “THE TALL MEN”
(Continued from Page 645 )
sequence were made later at the studio
on the biggest snow set ever constructed
there. It cost $100,000, covered four
acres of ground, and was covered with
80 tons of gypsum, cornflakes and a new
plastic material just being introduced
in the studios for use as artificial snow.
On the indoor exterior of the cabin,
where Gable and Russell sought refuge
during their escape from the Indians,
we also used the cabin for necessary
interior scenes. It was so constructed
that all we had to do was raise the roof
and shoot. The basic set lighting was
already in place, we and our equipment
were already there on the sound stage,
and as a result a great deal of valuable
production time was saved by this two-
way utilization of the set.
Upon returning to the studio from
668
Am I. RICAN ClN EMATOGRAPHER
November, 1955
PRECISION SOUND READERS
It is your guarantee
of the finest in sound
editing instruments.
Look for
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FEATURES: S imple threading . . . polished stabilizer
drum with needle bearings, with a surface which
cannot damage film . . . film rollers machined to con¬
form with SMPTE standards, and equipped with oilless
bearings . . . precision ground shafts . . . dimension
6x6x7 y2 inches.
AMPLIFIER: 117 volt — 60 cycle — AC . . . power
output — 4 watts . . . heavy duty Alnico V speaker
. . . safety fused . . . prefocused socket . . . pilot
light ... 6 ft. heavy duty cord.
All Prices F. O. B. Factory, Brooklyn, New York
Write for Literature
OPTICAL
Model 600 . 16mm and 35mm
NET PRICE $185.00
MAGNETIC
Model 700 . 16mm, 17.5mm, 35mm
and V4 inch
NET PRICE $198.00
OPTICAL-MAGNETIC
Model 800 ... 16mm, 35mm & Vn inch
NET PRICE $259.50
PRECISION LABORATORIES
• BROOKLYN 3, NEW YORK
1130 UTICA AVENUE
Sun Valley, new problems now con¬
fronted us, the most important of which
was maintaining authenticity in the
matching exterior scenes shot at the
studio. This involved matching in color
tones and in light quality and direction
that of the scenes shot at Sun Valley.
The Sun Valley footage ranged from
scenes shot in bright sunlight to those
shot in dull light during snowstorms.
In order to insure accuracy in the pho¬
tography of the matching closeups shot
later at the studio on “indoor exterior”
sets, It was necessary to follow closely
the photographic data set down earlier
as the location takes were made, and
also to carefully study the scenes shot
on location which were to be matched in
closeup and medium shots on the sound
stage. Putting a jig-saw puzzle together
never entailed greater accuracy and
patience.
The phase of the photography that
actually tried the souls of all men in¬
volved, of course, was the long and
arduous shooting of exteriors near Dur¬
ango, Mexico. The great cattle stampede
and other sequences were shot in the
aridily beautiful Los Organes valley, 67
miles from Durango. Four thousand
head of cattle, the largest herd ever to
be assembled for a motion picture any¬
where, supplied pictorial scope for our
CinemaScope lenses. Over a thousand
horses worked in the scenes shot here
New Cantilever Model
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F i I m I i n e
Combination
REVERSAL
PROCESSOR
— a great value with unique features
Never before a 16mm negative-positive processor with such
unique features. For instance: Positively eliminates film
breakage. Film can be held manually while machine is run¬
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port, permits daylight operation on all emulsions, with
variable speeds up to 1,000 feet per hour. Tanks built of
heavy-gauge Stainless Steel, with 1,200 feet magazines,
feed-in elevator and filtered air supply to drybox. Many,
many other features for the operator who wants to “get
there first with the most and best quality film.”
Write for further details and literature.
Other models available from $1,129.00.
DEPT. A-ll-22 1600 BROADWAY, NEW YORK CITY
American Cinematographer
November, 1955
669
PRECISION RACK-OVER
For all Bell & Howell 70 Cameras
Also adaptable to Bolex H-8 and H-16 Cameras —
3.00 additional
PRICE
$28.50
PHYSICAL
DESCRIPTION
Size: 4%"x 43/4"x2,/<"
high
Weight: 3'/j lbs.
approx.
Cast Iron
Wrinkle Enamel finish
Machined to .001
tolerance
Tool Steel Guide and
Lock Pins
Vlier Spring Locating
Plunger
FEATURES
* Film exactly what you see.
* A must for perfectly centered titles.
* Perfect for animation. Assures you all moving
objects are within the lens field.
* Film ultra close-ups not possible with camera
parallax adjustment.
* Mounts on any tripod using 'A -20 mounting
screw.
* Cam locks in position to avoid accidental loss
of field.
* Camera can be hand cranked regardless of po¬
sition on RACK-OVER.
* A substantial camera base used to film from
a table top.
* May be used with all camera accessories in
place, such as: motor, 400-ft. magazine, etc.
* Can be racked over and locked instantly.
NOTE: Accessories soon available to mount di¬
rectly on the RACK-OVER. Precision Matte
Box — Titler Attachment.
CINE PRODUCTS COMPANY
P.O. Box 135 Westlake, Ohio
Really Portable
POWER Z, $68.50
DELIVERS 110 VOLTS 60 CYCLE A.C. FOR
CINE-VOICE, ARRIFLEX, AND SIMILAR MOTOR-
DRIVEN CAMERAS.
Filmtronics, Inc.
Dept. A, 96 Huntington St.
New London, Conn.
and the animals required the services
of over 100 men to work them and look
after them. So if you wonder, after
looking over the accompanying photos,
what all those people are doing in the
pictures hut outside the range of the
CinemaScope camera, you’ll understand
the important hut anonymous part they
played in the production.
Actually, the director and the pro¬
ducers of “The Tall Men" had made
no conscious effort to break records in
the use of animals.
“The reason we need so many,” Di¬
rector Walsh exDlained. “is Cinema-
Scope. We need to fill the screen with
cattle in order to give an impression of
brute power.” And after looking at tests,
we agreed we couldn’t do it with less.
The same theory dictated the employ¬
ment of 1500 Indians for the big Indian
attack scenes — certainly the most grandi¬
ose effort of its kind in the history of
20th Century-Fox and perhaps in the
history of the industry.
The scope of these operations brought
with it many auxiliary problems. Thus,
the movement of the cattle in some of
the more arid sections kicked up dust
which tended to obscure the action from
the cameras. At times, as many as a
dozen tank trucks equipped with sprink¬
lers were employed in the task of laying
the dust with water.
Furthermore, the sheer mass of the
herd made it difficult to start, stop and
turn it during the many takes that were
required of this action. Because of this,
sometimes the actors would wait an hour
or more for the cattle mass to be put
into position so that they could play
their scene. Needless to say, the progres¬
sively changing light often became a
major consideration in these between-
take delavs.
T he delays put the actors under tre¬
mendous pressure. A flubbed line or any
kind of error would not only cause an
hour's delay while the cattle were being
put into position again, but in that hour
the weather might change and prevent
the shot from being made that day.
Perhaps the longest dolly tracks ever
used in a film production anywhere were
laid and used in filming the many
“follow shots” of the actors accompany¬
ing the herd in the cross-country trek.
The execution of these shots entailed as
much meticulous planning and rehearsal
as did the screen action itself. The
smooth manner in which these dolly
shots were executed is due entirely to
the fine corps of experienced tech¬
nicians which the studio sent along to
aid us on this location.
The laying of the dolly tracks them¬
selves was executed with all the engi¬
neering skill usually associated with the
laying of a stretch of rails for a railroad.
The track was smooth, properly gauged,
and kept under constant check during
the entire time it was in use. The grips
and the electricians, whose duty it was
to walk along with the moving dolly —
moving it and keeping the various power
lines free — worked as a well-oiled piece
of machinery despite the heat, and dust
and other discomforts encountered al¬
most continuously.
The filming of the big stampede
scenes was the climax of our production
assignment as well as producing the
action climax of the picture. Here we
brought four CinemaScope cameras into
action. Each was set up at a strategic
location which was calculated to permit
the most dramatic camera coverage from
medium closeup to long shot. This was
action that hardly could be repeated
for retakes; so we had to get it all on
film the first time. With four cameras
covering it we could be reasonably sure
that there would he ample action footage
for the film editors to work with, once
they undertook to cut this phase of the
production at the studio.
Ray Kellogg, head of the Studio’s
Special Photographic Effects Department
and cameraman Wally Castle, A.S C.
arrived on location for the stampede.
Their work contributed immensely to
enhnacing the pictorial and dramatic
impact of the sequence.
In planning the exterior photographv
of “The Tall Men,” the aim was always
to maintain a feeling of “bigness” m
the scenes in keeping with the scope of
the CinemaScope frame. Even in the
exterior closeups this procedure was
faithfully followed; the figures in the
foreground would be backdropped by
mountain vistas, the herd of moving
cattle, or the wagon train. (See the ac¬
companying photo of Gable and Jane
Russell with the cattle herd in the back¬
ground, for one example. — editor.)
This technique demonstrates how the
large CinemaScope format permits us
to include something of the locale as
a backdrop in order to maintain pic¬
torial orientation — a technique that is
gaining more and more recognition in
CinemaScope photography.
‘The Tall Men” was a storv made for
CinemaScope photography. In fact, it
is difficult to imagine any other aspect
; On Pages 681 and 682 ... :
► in the classified ad columns, you’ll find 4
„ BARGAINS GALORE <
► in
► New and Used Equipment
* of all kinds
A Good Place For YOU
to Sell, too!
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► 10c per word and up.
670
American Cinematocrapher
November, 1955
ratio doing full justice to the vast scope
of the subject matter. Whereas it is
sometimes a problem in conventional
films to fill the elongated screen with
sufficient action, both background and
foreground, to balance the composition,
the phtography of “The Tall Men” rare¬
ly if ever suffered from this handicap.
There was always a herd of cattle or a
band of Indians to fill out the frame
unobtrusively in the background, even
when the camera was concentrated on
a close shot of a single character or
player.
I have not dwelt upon the photogra¬
phy of the interiors of this production,
perhaps because, that by comparison
with the location shooting, the problems
were comparatively few and quite readi¬
ly surmounted. Along with its greatness
in other ways — great story, great cast,
and its tremendous entertainment po¬
tential, “The Tall Men” is certain to go
down in the annals of film production
history as entailing the greatest scope
of photographic operations of any west¬
ern story yet filmed. Only with Cinema-
Scope cameras was it possible to put on
the screen the vividness and reality, the
pictorial beauty and the tremendous ac¬
tion that comprises the very great story
of “The Tall Men.”
HERE IT IS .
The Dual Reader
Patent
Pending
Price: $195.00
(Less Viewer)
another CAMERA MART product!
• NOW YOU CAN HEAR SOUND
WITH ANY SILENT PICTURE VIEWER!
• SINGLE AND DOUBLE SYSTEM!
• HI-FI LIP-SYNC SOUND.
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THE CAMERA •
1845 BROADWAY at 60th St.
New York 23, New York
MART, inc.
Phone: Circle 6-0930
Cable: CAMERAMART
MILFORD FILM PROCESSORS
Deluxe REVERSAL Neg. & Pos.
Model 1-R
$3995.00
Standard REVERSAL Neg. & Pos.
Model S-R
$1495.00
Standard NEGATIVE-POSITIVE
Model O-NP
$800.00
• Develop and dry in minutes
• Daylight operation
• Automatic operation
• Quality Control
• Compact
• No installation
No Dealers
Prompt Delivery
F.O.B. Milford, Conn.
RENTALS AVAILABLE
MILFORD FILM MACHINE
Home of Quality Processing Equipment
POSTOFFICE
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MILFORD,
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American Cinematographer
November. 1955
671
NEW Perfection In A 16mm
Synchronous Magnetic Film Recorder
NEW quick simplified threading on Western Electric full
Davis-type mechanical filter, which results in a stabilized
“up to speed” time of three seconds without sprocket
hole damage.
NEW completely-enclosed mu-metal shield around head to
minimize hum pickup.
NEW lO’/j-inch 16mm reel holders.
NEW positive serrated drive eliminates gear tooth impulses
in take-ups.
The ONLY Professional Film Recorder Com¬
plete in ONE Case, from Microphone to Film.
KINEYOX
DIVISION
Electromation Co.
116 So. Hollywood Way
Burbank, California
Phone: Victoria 9-3291
SWAN SONG OF INDIA
(Continued from Page 658 )
The film includes scenes of palaces of
the rulers, magnificent gardens with
playing fountains and statues, the arm¬
ory kept intact for several decades in
which decorated swords encrusted with
jewels vie for honors along with guns
made of solid gold and drawn by cos¬
tumed bullocks. A fabulous collection
of jewelry, which Van Lier carefully
detailed in sparkling closeups, bears
testimony to the vast wealth of the
kings.
A maharaja at prayer in the morn¬
ing in his own private temple and later
carrying out his administrative tasks
in his modern office, along with a grand
durbar held by the Maharaja of Ba-
roda in his own palace is shown. Trib¬
utes are paid to the ruler who is be¬
decked in elegant clothes glittering with
erne a'ds and diamonds of fabulous
worth.
And so this documentary goes on and
on, but with never a dull moment, to
show liveried soldiers on parade, mag¬
nificently decorated elephants wit.i
their faces and trunks painted in gay
colors and designs, the Hindu festival
of Dasehra, night shots of the Maharaja
of Mysore’s palace illuminated with
more than a million electric light bulbs,
the festivals of Holi when colored water
and powder are squirted on passersby
in the spirit of a gigantic Mardi Gras,
and the Hindu rites observed on the
birth of a baby in a royal household.
A maharaja and his party mounted
on an elephant’s back go on a leopard
hunt and this phase of the picture af¬
fords spectacular jungle and animal
scenes. Along with animal scenes are
mingled human interest shots showing
the kind of life led by the hunters
themselves.
The film has commentary in English
throughout and specially recorded In¬
dian music in the background, all of
which was recorded later in Van Lier’s
studios under his supervision.
The whole production was a one-man
operation. That is, Van Lier not only
did all the photography, but he did all
the lighting of the vast interiors, toted
his own cameras and sound equipment,
inspected and repaired his cameras
faithfully at the close of operations each
day, and then before retiring, planned
out the following day’s work.
Unfortunate experiences suffered ear¬
lier with native help caused him to fore¬
go any assistants except one, whose
sole responsibility was to carry the tri¬
pod and help with miscellaneous chores.
Van Lier permitted no one to touch his
cameras or sound recorder, nor even to
carry them. And when you consider
that he always used at least three cam¬
eras on every location, it is not hard
to realize the tremendous load of his
labors.
Of the three cameras which he in¬
variably set up for every shot, one was
set for a long shot, one for a medium
shot, and the other for closeup. All were
operated simultaneously by Van Lier,
without aid of remote controls.
His complement of cameras consisted
of four Cine-Specials, each of which
had been modified with a PAR 4-lens
turret; three Bell & Howell 70-DA’s,
and a Wall 35mm camera, which was
not used on this production. All of the
16mm cameras are electric motor
driven.
His lighting equipment consisted of
fifty 500-watt floodlites, a number of
special baby spots, and a supply of
photofloods and reflectors. A Diesel-
powered mobile generator supplied pow-
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4241 NORMAL AVE., HOLLYWOOD, CALIF. • NOrmandy 3-9331
672
o
American Cinematographer
November, 1955
Let’s
Talk
About
Sound .
The FIRST” theater quality sound ever recorded on 16mm
Kodachrome was achieved by TELEFILM in 1938. Officials
of a major studio** asked to hear it on their high-fidelity
system and were amazed at its excellence.
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A LEADING 16mm MOTION PICTURE TECHNICAL SERVICE SINCE 1938
er on some locations, but in most of
the homes and palaces, where many in¬
teriors were filmed, he used the regular
house current. Oddly enough, he never
encountered an overload problem as we
do over here when, if we put more than
two or three photofloods on a circuit, a
fuse promptly blows.
Maintaining consistency of color tem¬
perature was religiously followed by
Van Lier, who often encountered dif¬
ferences of as much as three points
within a ten minute period. As a result,
he found himself checking color tem¬
perature as frequently as exposure val¬
ues — virtually before making every shot.
For color correction, he employed Wat-
ten filters on the camera lenses.
With unusual artistic flair, Van Lier
early established a pattern of soft pas-
a result, he often had to replace garish
tels for the coloring in his scenes. As
costumes, rugs and other trappings with
those in keeping with his established
color pattern. Only one who had the full
confidence of his Royal subjects, as did
Van Lier, could accomplish such a
thing. Probably for the first time in
the lives of many of the maharajas who
appear in this film, one outside the
royal family circle was permitted to
dictate what they were to wear and
what furnishings were to be used in
their palatial homes and palaces. Per¬
haps they were well aware of the im¬
portance of the motion picture record
that was in the making.
Van Lier personally selected the ap¬
parel and jewelry that was worn by the
500 to 800 people that appeared in each
of the various spectacle scenes, and
personally supervised their costuming.
In some instances, he directed that the
rugs on the floors be changed to a more
sombre hue.
And how did he find time for all
this? He usually rose at 4 a.m., briefly
reviewed his plans for the day, then
checked his equipment, and made ready
to start shooting at 9 o’clock.
Photographing royalty, he found, is
no easy task. It was no use to ask for
retakes; so the shot had to be right the
first time. “Although they are generally
cooperative, they won’t give you all the
time you need because they are too busy
with affairs of state,” Van Lier said.
'‘Glory of Bygone Days” represents
four years of hard work — shooting,
traveling, editing, sound recording, post¬
recording, and duplicating film. Van
Lier maintains a sizeable studio and
laboratory in Bombay known as Maclear
Film Productions, and here he printed
all his Kodachrome duplicates. The
Eastman Kodak Company laboratory in
Bombay processed the film, and it is a
remarkable job, comparing favorably
with the original.
While in the U.S., Van Lier made
arrangements with Alfred T. Palmer
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READY-EDDY, Sandy Hook. Conn.
American Cinematographer
November. 1955
673
I Productions, San Francisco, to distrib¬
ute the film for theatrical showing.
Van Lier is no comparative new¬
comer to film production. He was asso¬
ciated with some of the Hollywood
major studios in the twenties. Subse¬
quently he was sent to the far East by
the J. Arthur Rank Organization to sur¬
vey the Indian market for 16mm films.
After terminating his services with
Rank, he set up his own film produc¬
tion company in Bombay, later extend¬
ing operations into Ceylon and Malaya.
Supplying American film producers
with stock shots and special footage of
far East subject matter has long been
a profitable subsidiary operation.
WIDE SCREEN SUMMARY — CINERAMA
(Continued from Puge 654)
a modification of the Waller develop¬
ment.
Any of the standard heavy-duty tri¬
pods as well as conventional dollies and
cranes may be used with the camera.
Lenses: The eyes of the 150-pound
Cinerama camera are three matched
lenses of 27mm focal length, set at an¬
gles 48° apart. Each lens records one-
third of the total width of the scene
upon one of the three standard 35mm
negatives.
The lines of sight of the three lenses
converge and cross at a point 1 1/16-in.
in front of them, where a single revolv¬
ing disc shutter serves them all. and
assures synchronization of exposures.
Simultaneous focusing of all three lens¬
es is accomplished through a single con¬
trol, while diaphragm settings on all
th ree lenses are similarly set simultan¬
eously by means of another control
knob.
Film: The Cinerama camera takes
any 35mm negative stock, black-and-
white or color. The Cinerama produc¬
tions made to date have been photo¬
graphed on Eastman Color negative
and processed by Technicolor Motion
Picture Corp.
Individual Cinerama film frames are
1 1/2 times standard height — that is, 6
sprocket holes in length instead of the
conventional four. (See film clip repro¬
duction.) And since three film strips
are used, this means that the total
amount of film used for a given produc¬
tion is 41/2 times that of a standard
35mm motion picture production of
comparable screening time.
As yet Cinerama cameras are not
generally available to other film pro¬
ducers, being used exclusively in the
making of Cinerama productions.
WIDE-SCREEN SUMMARY— CINEMASCOPE
(Continued from Page 654)
anamorphic lens from the French op¬
tical engineer Henri Chretien, Fox
launched the first CinemaSeope pro¬
duction, “The Robe. ’ Studio engineers,
the meanwhile, sought to improve upon
the lens and took the problem to Bausch
Lomb Optical Company.
The initial Chretien CinemaSeope lens
was an “attachment" or auxiliary lens
— one that was mounted before the reg¬
ular camera lens. Subsequently, Bausch
& Lomb brought out an improved Cine-
maScope lens which incorporated the
anamorphic lens and the camera lens
in one unit. Besides improved optical
quality, the new lens did away with the
necessity of having to make adjustments
on two lenses each time a shot was to
be filmed.
Bausch & Lomb single-unit Cinema-
Scope lenses today are available in five
focal lengths: 35mm. 40mm, 50mm.
75mm and 100mm. 20th Century-Lox
also makes the lenses available to other
studios, and thus Cinema-Scope-type film
productions are today turned out by
| such studios as Metro-Goldwyn-Mayer,
Warner Brothers, Columbia, and others,
despite the fact that some of these stu¬
dios have or are developing their own
wide-screen systems.
Film: With one exception (the Lox
4x-55mm system ) all CinemaSeope pro¬
ductions are photographed on 35mm
film — usually Eastman Color negative.
DeLuxe Lilm Laboratories, a 20th Cen¬
tury-Lox subsidiary, processes most all
of the studio’s CinemaSeope negatives
and makes the prints. Previously, the
work was done by Technicolor, who
continues to process and print anamor¬
phic negatives for other studios.
TODD-AO
(Continued from Puge 655)
may be mounted on any standard tri¬
pod, dolly or crane.
Mitchell Camera Corporation is pres¬
ently engineering a completely new
Todd-AO camera which will incorporate
the well-known Mitchell movement, pro¬
vide for rackover and include other
674
American Cinematographer
November, 1955
Mitchell features.
Lenses: As with conventional 35mm
motion picture cameras, the Todd-AO
camera takes a range of lenses of dif¬
ferent sizes; but unlike the lenses used
on 35mm motion picture cameras, which
vary in focal length, the Todd-AO lenses
are classified according to the angle
of coverage. Four lenses cover every¬
thing from a closeup to distant scenic
shots. These range from the huge 128°
“bugeye" wide-angle lens — socalled be¬
cause of its enormous front element
(See Photo.) — down through the 64°,
48°. and 37° lenses.
At present two separate Todd-AO
cameras are required in shooting a pro¬
duction: one having the 128° lens per¬
manently attached, and the other de¬
signed to take the other three lenses
interchangeably. All Todd-AO lenses
have a short, sharp vanishing point, and
the depth of field is quite shallow—
which means that the camera operator
really has to be on his toes when mov¬
ing crane and dolly shots are being
photographed.
Film: Todd-AO cameras take East¬
man Color negative which is slit and
perforated in 65mm width by the manu¬
facturer. The picture area extends al¬
most to the sprocket holes on each side
and the equivalent of five sprocket holes
in height. Release prints are made on
70mm stock, the additional width pro¬
viding for the sound track.
VISTAVISION
(Continued from Page 655)
developed in the late 20’s by the Wil¬
liam P. Stein Co., of New York. The
results achieved with it by Paramount
in photographing “White Christmas”
led the studio to design an improved
VistaVision camera, which subsequently
was manufactured by Mitchell Camera
Corporation, makers of the world’s most
renowned studio cameras.
Present VistaVision cameras are com¬
pact in size, have 2000-ft. magazines —
one on each side of the camera instead
of the conventional double chamber
magazine on top. Camera width is a
mere 13 inches while the overall length
is 25% inches and the height, 20%
inches. Approximate gross weight of
camera, including 2000-ft. him load, is
105 pounds.
The him moves from right to left a
distance of 8 perforations per frame or
exposure. The movement is a modifica¬
tion of the well-known Mitchell NC link
movement. The pulldown movement
(actually the “pull-across” movement)
has been shortened to provide a 190°
exposure time. The movement racks up
and down for alternate viewing of the
scene through the lens and photograph-
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Cine-Voice outfit with turret, th-ee F/1.5 lenses .
Bell & Howell 70-DL camera with 1" F/2.5 lens .
Bell & Howell 70-DL camera with 1" F/l .4 lens .
Pathe ‘'16'’ Camera, less lens . . .
BRAND NEW LENSES — GUARANTEED
1" F/0.95 Nominar super speed lens (tax inch) .
1 " F/1.5 El itar . . .
10mm F/l .9 Berthiot super wide angle . . .
12.7mm F/1.5 Wollensak Raptar . . .
50mm F/1.5 Wollensak Raptar . . .
75mm F/1.5 Elitar .
Pan Cinor model 60 zoom lens with case. .. .
16mm Zoomar 25mm to 75mm .
BRAND NEW LIGHTING EQUIPMENT— GUARANTEED
500-watt "Baby" spotlight with stand, cable, etc .
2000-watt "Deuce" spotlight with stand, cable, etc.
5000-watt "5K" spotlight with stand, cable, etc .
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2000-watt cone light — less stand .
Frezzolite — portable newsreel light .
MISCELLANEOUS EQUIPMENT— GUARANTEED
Auricon 3 wheel dolly . . .
Triangle with lock-down clamps . .
Norwood Director exposure meter .
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industrial
Firms, studios,
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STEVE LIGHTNING ENTERPRISES
Suite 2218, 225 West 34th Street
New York, New York
American Cinematographer
November, 1955
o
675
Video Film Laboratories
is now located at
350 West 50th Street
New York 19, N. Y.
TELEPHONE: JUdson 6-7196
¥
Complete 16mm laboratory service
for Producers using the
Reversal Process
Also 16mm Negative and Positive
developing.
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Established 1949
GEO. W. COLBURN LABORATORY INC.
164 NORTH WACKEA 0 A I V E • C H I C A C 0 6
8 and 16mm
SERVICES
PROFESSIONAL PORTABLE
SOUND RECORDER
(Magnasync)
FOR SALE NEVER USED
FILM RECORDER
(No. 122, Audio X 400)
Including American Microphone,
Ten 400-ft. Rolls of Unused Tape.
RALPH STAUB
c/o Columbia Pictures
1438 No. Gower St., Hollywood, Calif.
Hollywood 2-3111
ing. Racking is controlled by the op¬
erator through a lever at rear of the
camera. (For a more complete descrip¬
tion see “Vista Vision Moves Forward."
page 552, November, 1954, American
Cinematographer. — EDITOR. )
Lenses: All lenses used on VistaVi-
sion cameras have been specially de¬
signed to cover the double-frame area
of the negative. All are mounted in ro¬
tating focusing barrels, are in ball¬
bearing mounts, and are calibrated for
T-stops.
Range of lenses consists of 21mm,
28mm, 35mm, 44mm, 5'0mm, 75mm,
85mm. 100mm. and 152mm.
With the VistaVision cameras, stan¬
dard focal length lenses of 50mm and
35mm can be used to gain wider angle
photography than when used with stan¬
dard 35mm cameras. A 50mm lens
covers an angle of 39° in VistaVision
as compared to 24° in standard 35mm
photography. A 35mm lens on a Vista¬
Vision camera covers an angle of 54°
as compared to 33° in standard 35mm
cameras.
Film: VistaVision cameras take any
35mm negative stock, black-and-white
or color.
T.C.F. — 4X-55MM
(Continued from Page 656)
improved CinemaScope wide-screen
photography — much clearer and better
defined pictures and almost a total elimi¬
nation of the distortion common to so
many wide-screen processes. New 4X-
55mm cameras completely engineered
from top to bottom are presently being
started by a prominent camera manu¬
facturer.
Specifically, what is achieved by this
new wide-screen camera and 55mm film
is ( 1 ) a larger-area negative for use in
making direct 55mm CinemaScope re¬
lease prints of major productions for
roadshow type of theatre presentation,
and (2) by optical reduction of the
55mm negative, a 35mm CinemaScope
print greatly improved in quality over
that achieved when the negative is
photographed on 35mm film. ThL is
due to the reduction of the magnifica¬
tion factor which results by optically re¬
ducing the print from a larger original
negative. (See “CinemaScope on 55mm
Film,” October, 1955, American Cine¬
matographer. — EDITOR. )
Lenses: The Twentieth Century-Fox
4X-55mm camera utilizes an entirely
new type anamorphic lens designed by
the studio's New York research depart¬
ment in collaboration with Bausch &
Lomb Optical Company engineers. Like
the dual-purpose, single-unit Bausch &
Lomb anamorphic lenses in present use
for 35mm CinemaScope photography,
the lenses for the 4X-55mm cameras in-
•
corporate the same simplicity of focus¬
ing and mounting. The focal lengths are
75mm, 100mm and 152mm.
Film: When the first 4X-55 camera
was put into use, blank Eastman Color
negative stock was slit in widths of
55.625mm, then perforated with a ma¬
chine which was constructed especially
for the purpose by T.C.F. studio en¬
gineers. Today, Eastman Color nega¬
tive in 55.625mm widths, properly per¬
forated, is being supplied in quantities
by Eastman Kodak Company.
SUPERSCOPE
(Continued from Page 656)
portions masked off — nor are they ac¬
tually masked off in the photography.
Where the standard CinemaScope pic¬
ture has an aspect ratio of 2.55 to 1,
the developers of Superscope have set¬
tled on an aspect ratio of 2 to 1. The
squeezed print therefore is .715" by
.715”, leaving a blank area at one side,
as may be seen in the film clip repro¬
duction.
Lenses: Inasmuch as any standard
35mm camera, which provides an ade¬
quate viewfinder, may be used for
shooting a picture for the Superscope
process, there are no specifications nor
limitations as to the lenses that may be
used in the photography.
Film: Eastman Color negative is the
stock most generally used for Super¬
scope prints; however, the process
works equally well with black-and-white
films.
NEW CINE CAMERAS
(Cotinued from Page 660)
degrading pictorial or image quality in
any way.
The camera sports other important
features, too. A built-in exposure guide
on side of the camera makes it a simple
matter for the photographer to deter¬
mine proper exposure in accordance
with the film used, and the subject and
the lighting. Once set for this exposure,
the camera is ready for filming no mat¬
ter what lens is to be used. The
beauty of it is that each time you swing
the turret to bring another lens into use,
you don't have to reset the diaphragm
and re-focus. The fixed-focus principle
on which the camera’s optical system
operates takes care of all of this.
The front finder of the camera has
three etched rectangles. The largest is
in green, outlining the wide-angle field;
the medium one is marked in red for
the standard field ; the smallest is yel-
( Continued from Page 680)
676
American Cinematographer
November, 1955
SO, YOU WANT TO BE A CAMERAMAN
( Continued from Page 657 )
the following questions and also any
booklets or literature you can send me:
1— How does one enter the profes¬
sion ?
2 — What is the nature of the work?
3 — How does one get into the field?
4 — What are the earnings and work¬
ing conditions?
Still another reader, who wrote the
Editors on the same subject, closed his
letter with this paragraph:
“Please tell me also what one has to
do before he is able to join the A.S.C.,
and if your magazine is available to us
common people please send me a copy
of your American Cinematographer.”
In replying to most of these queries,
we usually ask one question : “Why set
the Hollywood Studios as your goal?”
The real opportunities for the up and
coming motion picture cameramen of
tomorrow lie in so many other fields —
interesting fields, too. Actually, a cine¬
matographer’s job in a Hollywood
studio today is almost unattainable by
any except an experienced cameraman.
And you'd be surprised what that word
“experienced" entails. Usually it means
years of work as an operator or an as¬
sistant — sometimes as much as 20 years
— before the break finally comes and
you are made a First Cameraman.
V hen you are a First Cameraman
(strictly a technical term of Union ori¬
gin) you are also qualified to be called
a cinematographer or a director of
photography.
Robert Bronner, who is currently di¬
recting the photography of “Meet Me
In Fas Vegas” for Metro-Goldwyn-
Mayer studio is a typical example. This
is Bronner’s debut as a director of
photography. Until he was promoted,
he had served more than 20 years as a
film loader, and assistant or an operator
— most of the time at M-G-M.
The cinematographic art, as it is em¬
ployed in the major studios, and also in
making television films, is something
that is not acquired altogether in a col¬
lege course in cinematography, or in a
year’s shooting of movies with an 8mm
or 16mm camera. True professional
cinematography is something that has
to be absorbed gradually, a skill ac¬
quired through a long process of trial
and error, of observaiton, of close study
and of frustration. Even the “old mas¬
ters” — the top cinematographers in
Hollywood — are still “learning." There
is something of a hidden element of
competition in major studio cinematog¬
raphy that keeps the director of photog¬
raphy forever on his toes, trying new
lighting tricks, novel ways of handling
the camera, and better ways to use the
many accessories which are available
for controlling or conditioning the light
that is used for set illumination. All of
which has made Hollywood motion pic¬
tures the best photographed films pro¬
duced anywhere.
But to get back to your problem,
dear reader . . .
Thanks to the constantly expanding
use of industrial, training and educa¬
tional films, to the growing practice of
many industrial firms to produce many
of their own films, to the growing pub¬
lic taste for travel and lecture films,
and, of course, to the use of films in
television, the cinematographers of to¬
morrow have a vast and fertile field to
explore quite beyond — and just as in¬
teresting — as Hollywood film produc¬
tion. This is the ground for you to
spade in search of opportunity. And
your best bet to make that important
“connection" might very well be in your
own home town — with your local TV
station; with the furniture factory hav¬
ing difficulty training help fast enough
and efficiently, where a training film
would quickly solve the problem; with
some established growing industrial film
producer in need of a man to “start at
the bottom" and learn the business; or,
if you simply would like to get away
from home and shoot motion pictures
in new and interesting places, you can
set out with camera and film and make
travel or lecture films.
Local television stations have opened
some promising opportunities for 16mm
cameramen. Nearly every TV station of
any size and importance has its own
film department headed by a motion
picture cameraman, usually a man with
Army combat photography training or
a graduate of a Cinema Class of one
of the Universities or Colleges. His
function usually is to shoot material for
the station's local news telecasts, films of
special events, and also advertising spot
announcements for some of the station’s
local clients. Articles in recent issues of
American Cinematographer have de¬
scribed some of the more interesting
cases of this kind that have come to the
Editor’s attention.
And what about industry? Your local
industrial firms probably offer many
opportunities, but they usually have to
be developed by the cameraman him¬
self. It sometimes happens that a man
with a good deal of experience shoot¬
ing 16mm films and working for a large
industrial plant, develops his opportuni¬
ties by showing his films to important
(Continued on Page 679)
Now! A 400ff. Magazine
For Your BOLEX H-16
Permits continuous 400 ft. run of 16mm film — I
the 200 ft. daylight loading spool may be used I
in the 400 ft. magazine. The 100 ft. spool can I
be used in the camera without removing ex- I
ternal magazine. Fully guaranteed. Can YOU I
shoot a continuous wrestling match, prizefight or
football game? If not write for complete in¬
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Ask
1309
about our Rack-Over
and Camera Base.
TOLEDO CINE ENGINEERING
Milburn Ave. Toledo 6, Ohio
MOVIOLA
FILM EDITING
EQUIPMENT
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• PICTURE
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One of the
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MOVIOLA MANUFACTURING CO.
1451 Gordon St. • Hollywood 28, Calif.
Automatic Daylight Processing
DEVELOPING TANK
• Processes up to 200 Ft.
• 8mm- I6mm-35mm
• Movie — X-Ray — Microfilm
• Motor driven portable
• Tough plastic tanks
• Uniform Density Assured
• 70mm tank also available
FILM DRYER
• Motor driven — Heated
• Speedy drying
• Automatic shrinkage allow¬
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• Stainless steel and
aluminum construction
• Easily assembled without
tools
• Compact, Portable
Guaranteed. Write for Free Literature.
Dept. AC
487 South Ave.
Beacon, N. Y.
Micro Record (orp.
e
American Cinematographer
November, 1955
677
HOLLYWOOD STODIO PRODUCTION
Feature and television film productions for which members of the American Society of
Cinematographers were engaged as Directors of Photography during the past month.
AMERICAN SOCIETY
OF CINEMATOGRAPHERS
FOUNDED January 8. 1919, The Ameri
can Society of Cinematographers is com
posed of the leading directors of photog¬
raphy in the Hollywood motion picture
studios. Its membership also includes non
resident cinematographers and cinematog¬
raphers in foreign lands. Membership is
by invitation only.
•
Arthur Miller, President
Sol Halprin, First Vice-President
William Skall, Second Vice-President
Alfred Cilks, Third Vice-President
Walter Strence, Treasurer
Charles G. Clarke, Secretary
Robert de Grasse, Sergeant-At-Arms
BOARD OF GOVERNORS
Joseph Biroc
George Folsey
Burnett Guffey
Winton Hoch
Hal Mohr
Ray Rannahan
Leon Shamroy
Philip Tannura
ALTERNATE BOARD MEMBERS
Ellis Carter
Paul Eagler
Farcion Edouart
Irving Glassberg
Mi LTON KRASNER
Ernest Laszlo
Robert Pittack
John Seitz
James Van Trees
Paul Vogel
COLUMBIA
® Charles Lang. "The Wav We Are.”
(Wm. Goetz Prod.) with Joan Crawford, Cliff
Robertson, Vera Miles, Lorna Greene, and
Ruth Donnelly. Robert Aldrich, director.
• Burnett Guffey. “Storm Center,” with
Bette Davis, Kim Hunter, Brian Keith, Joe
Mantell, Paul Kelly. Dan Taradash, director.
• Henry Freulich, “Over-Exposed” with
Cleo Moore, Richard Creena, Raymond Green-
leaf, Roger Smith, Don Randolph, James
O'Rear, Leo Mostovoy, Isobel Elsom. Voltaire
Perkins and Norma Brooks. Lewis Seiler, di¬
rector.
• Charles Lang. “Solid Gold Cadillac," with
Judy Holliday, Paul Douglas, Fred Clark, Hi¬
ram Sherman, Arthur O’Connell. Ray Collins.
Richard Quine, director.
• Burnett Guffey, “The Harder They Fall.”
with Humphrey Bogart. Rod Steiger, Mike
Lane. Joe Walcott, Carlos Montalban, Harold
Stone, Max Baer, Herbie Faye, Edward An¬
drews, Vinney DeCarlo. Mark Robson, direc¬
tor.
ALLIED ARTISTS
© Ellsworth Fredericks, “TKe Friendly
Persuasion,” (Eastman Color, Wide-screen)
with Gary Cooper, Dorothy McGuire, Mar¬
jorie Main. William Wyler, producer-director.
• Frederick Gately, “The Four Seasons,”
(Color, Wide-screen) with David Wayne,
Keenan Wynn, James Barton, Jim Backus,
Myrna Dell. Josef Shaftel, producer-director.
® Ernest Haller. “The Come On" (Super¬
scope) with Anne Baxter, Sterling Hayden,
John Hoyt. Russell Birdwell, director.
• Wilford Cline, “The First Texan," ( Cine-
maScope) with Joel McCrea, Wallace Ford,
Carl Benton Reid, Jeff Morrow, Jody McCrea,
William Hopper, Scott Douglas. Byron Haskin,
director.
METRO-GOLDWYN-MAYER
• Robert Surtees, “Tribute To A Bad Man,”
(Eastman Color; CinemaScope) with James
Cagney, Stephen McNally, Irene Papas, Don
Dubbins. Robert Wise, director.
• Robert Planck, “Gaby,” (Eastman Color,
CinemaScope) with Leslie Caron, John Kerr,
Sir Cedric Hardwicke, Trina Elm, and Ma.-
galo Gilmore. Curtis Bernhardt, director.
• Arthur Arling, “Fearful Decision,” (Wide-
Screen) with Glenn Ford, Donna Reed, Les¬
lie Nielsen, Juano Hernandez, Robert Keith.
Alex Segal, director.
• Joseph Ruttenberg, “The Swan,” (East¬
man Color, CinemaScope) with Grace Kelly,
Alec Guiness, Louis Jourdan, Brian Ahern,
Agnes Moorhead. Charles Vidor, director.
PARAMOUNT
• Loyal Griggs, Wallace Kelley, Peverell
Marley, “The Ten Commandments,” (Vista-
Vision, Technicolor), with Charlton Heston,
Anne Baxter, Yul Brynner, et al. Cecil B. De
Mille, director.
• Franz Planer, “The Mountain,” (Techni¬
color, VistaVision ) with Spencer Tracy, Rob¬
ert Wagner, Claire Trevor, Richard Arlen,
William Demarest. Producer-director, Edward
Dmytryk.
• Loyal Griggs, “That Certain Feeling,”
(Technicolor, VistaVision) with Bob Hope,
George Sanders, Eva Marie Saint, Pearl
Bailey, David Lewis and Al Capp. Producers-
directors, Norman Panama and Melvin Frank.
TWENTIETH CENTURY-FOX
• Charles Clarke, “Carousel,” (Color; Cine¬
maScope) with Frank Sinatra, Shirley Jones,
Barbara Ruick, Cameron Mitchell, Claramae
Turner, Audrie Christie, Robert Rounseville.
Henry King, director.
• Joe MacDonald, “Threshold of Space,”
with Guy Madison, John Hodiak, Virginia
Leith. Dean Jagger and Warren Stevens. Rob¬
ert Webb, director.
© Lee Garmes, “Bottom of the Bottle.” (Color
CinemaScope) with Van Johnson, Joseph Cot¬
ton, Ruth Roman, Jack Carson, Brad Dexter.
Henry Hathaway, director.
UNIVERSAL-INTERNATIONAL
• Russell Metty, “Congo Crossing,” (Tech¬
nicolor) with Virginia Mayo, George Nader,
Peter Lorre, Michael Pate, Rex Ingram, Tonio
Selwart, Kathryn Givney, Raymond Nailey.
Joseph Pevney, director.
• Maury Gertsman, “Raw Edge,” (Techni¬
color) with Rory Calhoun, Yvonne De Carlo.
Rex Reason, Mara Corday, Neville Brand.
Herbert Rudley, Robert Wilkie. John Sher¬
wood, director.
• Irving Glassberg, “Cry Innocent,” with
Merle Oberon, Lex Barker, Abner Bieberman.
director.
WARNER BROTHERS
• William Mellor, “Giant,” (Warnercolor)
with Elizabeth Taylor, Rock Hudson, James
Dean, Jane Withers. George Stevens, director.
• J. Peverel Marley, “Serende,” (Warner-
Color) with Mario Lanza, Joan Fontaine,
Sarita Montiel, and Vincent Price. Anthony
Mann, director.
• Hal Rosson, “The Bad Seed” with Nancy
Kelly, Patty McCormack, William Hopper,
Evelyn Varden, Mervyn LeRoy, producer-
director.
• Ted McCord, Tom Tutwiler, “The Spirit
of St. Louis," starring Jimmy Stewart. Billy
Wilder, director.
• John Seitz, “Cry In The Night,” (Jaguar
Prod. ) with Edmond O'Brien, Natalie Wood,
Brian Donlevy, Richard Anderson, and Ray¬
mond Burr. Frank Tuttle, director.
INDEPENDENT
• Lionel Lindon, “Around The World In
80 Days,” (Michael Todd Prod., Todd-AO)
with David Niven, Cantinflas, Shirley Mac-
Laine, Robert Newton, Martine Carol, Noel
Coward, Finlay Currie, Fernandel, Sir John
Gielgud, Hermione Gingold, Cederic Hard¬
wicke, Glynis Johns, Beatrice Lillie, A. E.
Matthews, John Mills Robert Morley. Ronald
Squires, Basil Svdney, Harcourt Williams,
Luis Dominguin, Buster Keaton. Michael An¬
derson, director.
• Sam Leavitt, “The Man With The Golden
Arm,” (Carlyle Prod.) with Frank Sinatra,
Eleanor, Parker, Kim Novak, Arnold Stang,
Darren McGavin, Robert Strauss, John Conte,
Doro Merande, George Matthews, Emile Mey¬
er. Otto Preminger, producer-director.
• Charles Boyle, “The Great Locomotive
Chase," (Technicolor, CinemaScope: Buena
Vista Productions) with Fess Parker, Jeff
Hunter, Jeff York, John Lupton, Stan Jones,
and Claude Jarman. Francis D. Lyon, director.
• Joseph Biroc, “Nightmare,” ( Pine-Thomas-
Shane Prods. ) with Edward G. Robinson, Ke¬
vin McCarthy, Connie Russell. Maxwell Shane,
director.
• Joseph LaShelle, “Run For The Sun,”
( Russ-Field Corp.; Color, Superscope) with
Richard Widmark and Jane Greer. Roy Boult¬
ing, director.
678
American Cinematographer
November, 1955
SO, YOU WANT TO BE A CAMERAMAN
(Continued from Page 677)
company personnel and thus demon¬
strates his ability. There have been in¬
stances where a single showing of an
employee’s film inspired an employer to
commission the cameraman to make a
film for the company, which led to
establishing a small film production
unit within the company.
Is there an established business and
industrial film producer in your com¬
munity? Why not approach him for an
opportunity to work on the camera
staff? Most producers of this kind are
growing steadily, and this means in¬
creasing the size of the photographic
staff.
The lecture or travel film field usually
requires more than a knowledge of good
cinematography. In most cases, the men
who lecture with travel films, also
photograph them. But there are some
exceptions. One in particular is Ted
Phillips, who has photographed many
of the Burton Holmes lecture films.
Phillips got his start in this field dur¬
ing his amateur movie making days.
Having shown a number of his 8mm
films to enthusiastic Chicago groups, his
good work came to the attention of
Burton Holmes. An assignment followed
and Phillips was on his way to becom¬
ing one of the best 16mm lecture film
photographers ever to get into the busi¬
ness. His association with Burton
Holmes has continued for years, and
during this time he has toured most of
the European countries, Mexico and
South America for Holmes in quest of
screen material for the lecturer’s in¬
comparable shows.
So you never know where your real
opportunity lies until you look for it.
It’s probably closer than you think.
Search for it with the proper perspec¬
tive always in view. You need more
than ambition and a burning desire to
see your name in the credits of a major
screen production. There's a lot of work
ahead of you if you have chosen cine¬
matography as a career, but most of it
will be found in those fields far removed
from the Hollywood studios, where the
competition is not so keen, where the
pay probably is less, but where you
have a greater chance for developing
into a professional cinematographer as
an individual.
HOLLYWOOD STUDIO PRODUCTION
(Continued from preceding page )
TELEVISION
(The following directors of photography
were active last month in photographing films
for television in Hollywood, or were on con¬
tract to direct the photography of television
films for the producers named. 1
Floyd Crosry, “TV Reader’s Digest,” (Al¬
pha).
Allan Stf.nsvold, “Dr. Hudson’s Secret Jour¬
nal,” (Author’s).
Karl Freund, “I Love Lucy,” “December
Bride,” “Our Miss Brooks,” (Desilu).
Nick Musuraca, “The Lineup,” (Desilu).
Sid Hickox, "My Favorite Husband,” (Desi¬
lu).
Walter Strenge, “The Way,” (Family).
Virgil Miller, “You Bet Your Life," (Film-
craft).
Ernest Miller. “Gunsmoke,” ( Fillmaster ) .
William Bradford, “Adventures of Cham¬
pion,” (Flying-A).
Lester White, “Navy Log,” (Gallu).
Daniel B. Clark, “People Are Funny,” (Gue-
del ) .
Mack Stengler, "Ina Ray Hutton Show,” “It's
Fun To Reduce,” (Guild).
Robert DeGrasse, “It’s Always Jan,” (Jan-
ard ) and “Make Room For Daddy,” (Mar-
terto) .
Norbert Brodine, "The Loretta Young Show,”
( Lewislor ) .
Stuart Thompson, “Lassie,” (Maxwell).
Phillip Tannura, “The Burns & Allen
Show,” ( McCadden ) .
Harry Wild. “The Bob Cummings Show,”
( McCadden ) .
James Van Trees, “The People’s Choice,”
( McCadden ) .
William A. Sickner, “Medic,” (Medic).
Harold Marzorati, “MGM Parade,” (MGM).
Henry Sharp, “Sheena, Queen of the Jungle,”
( Nassour ) .
Jack Mackenzie, “Frontier,” (Outpost).
Harold Wellman, "Wyatt Earp,” (616).
Joseph Biroc, “Superman,” (Superman).
Karl Struss, “My Friend Flicka,” (TCF).
Lloyd Ahern, “20th Century-Fox Hour,”
(TCF).
Guy Roe, “Gangbusters,” (Visual).
Kenneth Peach, "Fury,” “The Count of
Monte Cristo,” (TPA).
Carl Guthrie, “Cheyenne,” "King’s Row,”
( Warners ) .
Harold Stine, “Casablanca,” (Warners).
George Clemens, “Sclditz Playhouse of
Stars,” (Meridian).
Lucien Andriot, "It’s A Great Life,” Ray-
dic) .
Lothrop Worth, “The Great Cildersleeve,”
( Roach ) .
Gilbert Warrenton, "Sergeant Preston of the
Yukon,” (Skinner).
The FINEST
400-Ft. CONVERSION
of Auricon Cine-Voice
Only <SG-
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$395
With Your Magazine
Filmtronics, Inc.
Det. A, 96 Huntington St., New London, Conn.
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PORTABLE WATSON CINE' DEVELOPING
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• SIMPLE operation MINIMUM cost-
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Extra Reels Tanks etc., available.
Write for FREE Processing Booklet. Dept AC
BURKE & JAMES. INC. 321 So. Wabash, Chica£0 4.
YOU WON T MISS AN ISSUE . . .
of American Cinematographer if you renew
your subscription promptly when notice is re¬
ceived. The yearly subscription rate remains
the same — $3.00 (U S. and Canada I Foreign,
$4.00
J^HUTERS
In World -UMs Uss
Produce moonlight and night effects
in daytime * fog scenes « diffused focus
and many other effects.
Information moiled on request.
SCHEIBE FILTERS COMPANY
ORIGINATORS OF EFFECT FILTERS
P.O. Box 46834, Hollywood 46, Calif
American Cinematographlr
November. 1955
e
679
To Sell
THE MOTION PICTURE INDUSTRY
YOU
NEED
AMERICAN
CINEMATOGRAPHER
AMERICAN CINEMATOGRAPHER reaches all
fields of 35mm and 16mm motion picture
production —
• Major Hollywood Studios
• Television Film Producers
• Industrial Film Makers
• Educational Film Producers
• Amateur Movie Makers
• Film Laboratories
• Foreign Film Producers (67 countries)
Why be satisfied with anything less?
Write For Advertising Rates
NEW CINE CAMERAS
(Continued from Page 676)
RUBY CAMERA EXCHANGE
Rents . . . Sells . . . Exchanges
Everything You Need for the
Production & Projection
of Motion Pictures Provided
by a Veteran Organization
of Specialists
35 mm . 16 mm.
Television
IN BUSINESS SINCE 1910
729 Seventh Ave., New York 19, N. Y.
Tel.: Circle 5-5640
Cable address: RUBYCAM
low, representing the telephoto field.
The markings on the three barrels
match their respective fields in color,
so it isn’t necessary to read the name
on the barrel to be sure the right one
is in place.
Letters and numerals on each barrel
make cine photography still easier by in¬
dicating the minimum distance at each
and every lens opening from f/1.9 to
f/16. All objects from these minimum
distances, all the way to infinity, will be
sharp.
The rear finder of the camera is ad¬
justable to show the field being covered
at 3, 4, 5, and 8 feet and at infinity,
thus enabling even the most amateur of
movie makers to avoid such ills of com¬
position as cutting off heads.
To further simplify the operation of
this versatile camera, the manufacturer
has marked the average setting for aver¬
age shooting in red. Thus, in case of
any doubt, the sunny-day camera user
can simply follow the red markings all
the way to easy, economical movie mak¬
ing.
Introduced simultaneously with the
Brownie Turret camera last month was
Kodak’s Medallion — new pocket size
8mm magazine cine camera. Weighing
New Cine-Kodak “Medallion,” pocket-size
8mm camera.
but 1 ^-pounds, the Medallion combines
the convenience of its 4^" by 3%/' by
2" size with the ease of 25-foot maga¬
zine loading. It is equipped with a
13mm f/1.9 Ektanon lens in standard
D-mount. This lens focuses down to 12
inches and is readily interchangeable
Cine-Kodak “Showtime” 8mm projector
fills screen up to five feet in width, trans¬
mits 60% more light.
with several auxiliary lenses for wide-
angle and telephoto photography.
The Medallion has true, full-range,
continuously variable - power enclosed
optical finder of the zoom type showing
the fields of lenses from 6y2mm to
38mm. It also incorporates parallax-
allowance indicators; a unique 3-posi¬
tion eye-piece, enabling matching of the
optical characteristics of the finder sys¬
tem to those of the eye; and a focal-
plane marker for highly accurate focus¬
ing. Shooting speeds range from 16 to
48 frames per second.
To make the Medallion as easy to use
as it is to carry, Kodak has marked the
camera settings for shooting under
average conditions with the same “red
dot” system which has been so popular
on its still cameras. These dots indicate
the finder setting, the frames-per-second,
the speed, lens position, and exposure to
be used for everyday movie making.
A built-in exposure guide permits
“dialing of proper lens openings in
accordance with the film, subject,
and lighting conditions. Films can be
switched from indoor to outdoor, even
when partly exposed, without loss of a
single frame.
These two new cameras greatly
broaden the scope of cine photography.
I heir smart appointments will appeal
to the professional as well as the begin¬
ning amateur — and for the latter, they
enable him to introduce professional
touches in his pictures, giving his pro¬
ductions real prize-winning possibilities.
( Continued on Page 682)
It's easy with the
MERCER FILM PATCH
Descriptive Chart & Price List
Mailed on Request
R.C. MERCER & COMPANY
4241 Normal Ave., Holywood 29, Calif.
► •Ormandy 3-9331
680
American Cinematographer
November. 1955
CLASSIFIED ADVERTISING
RATES: Ads set in lightface type, 10c per word; minimum ad, $1.00.
Text set in lightface capital letters ( except 1st word and advertiser's
name) 15c per word. Modified display format (text set in boldface
type, capitals or upper-and-lower case) 90c per line. Send copy with
remittance to cover payment to Editorial Office, American Cinematog¬
rapher, 1782 No. Orange Drive, Hollywood 28, Calif. Forms close 15th
of month preceding date of issue. No discount on Classified Advertising.
STUDIO & PRODN. EQUIP.
FOR SALE
FOR SALE
30TH ANNIVERSARY— S.O.S. SALE OF SALES
ACME ANIMATION CAMERAS, 16 & 35mm,
reconditioned . $1995.00
MITCHELL 16 CAMERA w/5 lenses; 35mm
Viewfinder, Mattebox, Sunshade; 4 — 400'
Magazines; Mitchell Blimp; Sync and Vari¬
able Motors, Cases, etc. $7500 value. Al¬
most new . 5575.00
CAMERETTE 35mm REFLEX w/4 Kinoptik
Lenses; 3 magazines,- battery motor; 110
AC motor,- extension tubes; automatic focus
changer. Excellent . 2750.00
FILMTRONICS POWER SUPPLY for Auricon or
other motor driven cameras. Includes bat-
AKELEY AUDIO SOUND CAMERA, 6 fast
tery with charge outlet . 68.50
lenses; 3 magazines; motor; V.D. gal¬
vanometer,- amplifier; 2-WE mikes; cables
and cases. $9500 value..... . . 4450.00
FEARLESS GEARHEAD, 2 SPEED with wedge.... 1025.00
AKELEY 35mm EDITING MACHINE, sound,
picture, preview. $3000 value . 1295.00
ZOOMAR 35mm TELEVISION LENS . 5595.00
NEW FRESNEL STUDIO SPOTS, lead wires,
switch, pipe clamp.
200 Watt . $59.95 5000 Watt . 99.95
10' TITLE ANIMATION STAND w/motorized
zoom and stop motion. Completely wired
with footswitches. Art Table takes largest
work. $2500 value . . 975.00
DULLING SPRAY— SUBDUES HIGHLIGHTS f om
shiny surfaces. Wipes off clean without
solvent.
12 oz. can . $1.95 Dozen lots . 1.35
BARDWELL-McALISTER MULTIPLE FLOODLITES,
3 Quadruple heads to hold 12 bulbs on
rolling tripod stand. Orig. Gov't Cost $180.
Surplus . 29.50
BM QUADLITE Heads only $4.95. Stands only 19.95
B&H 16mm FILMO SPECIALIST CAMERA
w/rackover, matte box, Mitchell type find¬
er,- syncmotor; 400' mag.; w/case. $2000
value . 995.00
CUSTOM BLIMP for B&H 70D with sync
motor . 195.00
BRIDGAMATIC 21 6B NEG/POS PROCESSOR,
1800' per hour, w/elevators,- airpump, re¬
circulation, refrigeration. $4000 value . 1995.00
CINEX EXPOSURE TESTING MACHINES— used
by leading labs. Originally $4000.00. Re¬
built . 1995.00
DEPUE PICTURE REDUCTION PRINTER, 35/16
Optical. Rebuilt . 3995.00
NEW AMPRO PA-3 TRI-PURPOSE Amplifiers.
Maximum output 85 watts. List $278.00,
with tubes . 99.50
NEW 1 1 'xl 4' ROLLER SCREENS, ropes & pul¬
leys, mat white . 49.50
NEUMADE & DUPLEX FILM MEASURING Ma¬
chines, 2 gang $35.00; 3 gang . 49.50
NEUMADE 2 GANG SYNCHRONIZERS, 35mm. .. 75.00
TRADES TAKEN Cable: SOSOUND Dept, fc
S.O.S. CINEMA SUPPLY CORPORATION
602 W. 52nd Street, New York 19 Phone: PL 7-0440
Western Branch — 6331 Hollywood Blvd.,
Hollywood, Calif. Phone HO 7-9202
FOR SALE
GERMAN STILL 35mm cameras. I mport your own.
Save importers and retailers profits. (About 35%).
Pay postman duties. Examples: EXAKTA. The only
completely versatile 35mm camera. With:
Automatic diaph. Zeiss Tessar
F/2.8 . . . $159. (duty $22.)
Automatic diaph. Isco Westanar
F/2.8 . $139. (duty $19.)
Automatic diaph. Schneider Xenon
F/1.9 . $195. (duty $26)
Automatic diaph. Zeiss Biotar
F/2.0 . $199. (duty $26)
Similar prices all other famous makes. All new.
Latest 1955 production in original factory packing.
Parcelpost and insurance included. No other
charges. Pre-payment through bank and inspection
or. arrival guarantees you complete satisfaction
before we are paid. Experienced, (and objective)
advisory service, (please specify interests and re¬
quirements), and pricelists by return airmail. All
transactions on money-back basis. WORLDPOST.
TANGIER, MOROCCO. _
I6MM HOUSTON K-1A . . . developing machines.
For reversal or positive film. Complete with
refrigerator units, temperature control, condensors,
evaporators, thermostats, etc. BRAND-NEW, prices
reduced! Write. AIR PHOTO SUPPLY, Dept. C-l,
555 E. Tremont Ave., New York 57, New York.
MOTION PICTURE EQUIPMENT GREATLY REDUCED
Has been in regular use — and has been replaced
by new equipment
ECKO TAPE RECORDER, Model 101-9, like
new, $400 value . $ 125.00
STANCIL-HOFFMAN MAGNETIC 16mm FILM
RECORDER, 1200 ft. capacity. Model S5,
first class condition, $2500 value . 1650.00
SPARE PARTS FOR ABOVE: Set of Heads,
2 sets of tubes, 2 motors, etc., new,
$400 value . 200.00
CONVERTER DC TO AC, 500 Watt, fair
condition . 15.00
BELL & HOWELL SOUND PROJECTOR and
Speaker, Model E, good condition, $495
value . 275.00
ALTEC-LANSING DUPLEX 15-INCH SPEAKER
and Base Reflex Cabinet, Cross-over Net¬
work, very good condition, $555 value . 150.00
RCA MIKE, Model 44B, Chrome Plated on
heavy stand, like new, $300 value . 125.00
PORTABLE DOLLY WITH SEAT (2), Camera
Equipment Co., like new, $250 value, each 175.00
MAURER SINGLE SYSTEM 16mm SOUND CAM¬
ERA with Bi-lateral Galvo, Synchronous and
DC Motors, Matte Box, Magazines, Am¬
plifier, Noise Reduction, Mike, Portable
Power Supply, Cases and Cables, good con¬
dition, $10,000 value . 2000.00
BLIMP for above with follow focus, excellent
condition, $1200 value . 300.00
AURICON 16mm SOUND CAMERA, Super 1200
with Galvo, Amplifier, Two Magazines,
with cases like new, $4315 value . 3250.00
AURICON TRIPODS (2), like new, $249 value,
each . 195.00
BLIMP FOR LATE MODEL MAURER CAMERA,
with 1200 ft. Magazines, Dural, Absolutely
Silent, Complete with Pan Head, like new,
$1500 value . 500.00
STAGE DOLLY FOR ABOVE, homemade, good
condition . 50.00
DOUBLE BROADS (4) on Studio Stands, old
style, fair condition, each . „ . 20.00
PRINTER, DEPUE, Reduction, Blow-up or Con¬
tact, with 120 light change board, like
new, $6675 value . 4950.00
PHOTOVOLT DENSITOMETER with Narrow
Aperture for Sound Track, built in color
filters, like new, $1000 value . 375.00
BLIMP, AURICON, FOR EK SPECIAL, with
follow focus, with case, like new, $345
value . 195.00
SYNCHRONOUS MOTOR, J. A. MAURER,
heavy duty, for Auricon Blimp, 110 volt
AC, excellent condition, $275 value . 150.00
CAMERA LENS (2) B&H TTH IVOTAL one-
inch f/1 .4 focusing, new, $176 value,
each . 120.00
CAMERA LENS (2) B&H TTH IVOTAL two-
inch f/1 .4 focusing, new, $165 value,
each . 1 15.00
EASTMAN MODEL X SENSITOMETER with
timer and voltage regulator, fair con¬
dition, $200 value . 35.00
WESTON DC AMMETERS (6) 2l/!-amps., Studio
dial, excellent condition, $45 value, each 12.50
Write, phone or wire:
byron Studios and Laboratory
1226 Wisconsin Avenue, N.W., Washington 7, D.C.
DUpont 7-1800
SALE BELL & HOWELL EQUIPMENT— ALL LIKE NEW!
70DL FI .9 . $199.50
FILMORAMA LENS AND BRACKET . 395.00
16 MM AUTOLOAD FI .8 LENS . . . 89.50
1 6MM AUTOLOAD FI .9 LENS . 99.50
200T, 1" FI .9, 4" F4.5 . 189.50
70DL, 1" FI. 9, W.A. & 6" . 299.50
285C OPTICAL SOUND AND SILENT . 279.50
202C MAGNETIC RECORDING PROJECTOR . 469.50
1 72A MAG. LOAD 2MM F2.5 . 99.50
8MM TRI-LENS F2.5 . 69.50
Mail Orders Filled Promptly
CAMERA CRAFT DEPT. G
18 East 42nd Street, New York 17, N.Y.
ARRIFLEX 16 complete with motor, cable, matte box,
16mm, 28mm, and 50mm Schneider Xenon lenses.
Like new. Best offer. Box 1223, AMERICAN CIN¬
EMATOGRAPHER.
WE BUY, SELL AND RENT PROFESSIONAL AND 16mm
EQUIPMENT, NEW AND USED. WE ARE DISTRIB¬
UTORS FOR ALL LEADING MANUFACTURERS. RUBY
CAMERA EXCHANGE, 729 Seventh Ave., New York
City. Established since 1910.
MOTION PICTURE EQUIPMENT NEW AND USED
ARRIFLEX 16, complete with 3 lenses, bat¬
tery, charger and case . $2365.60
NEUMADE FILM CLEANER, 2000' capacity.
Like new . 325.00
NEUMADE SHOW TIMER/- 16mm measuring
device, converts footage to time. Demon¬
strator . 119.50
MICRO-RECORD 16mm processing tanks and
dryer. 200' capacity. $302 value. Like new 195.00
BOLEX SYNC MOTOR, excellent condition . 125.00
VICTOR 'SILENT 16 ”, 2000' capacity pro¬
jector, variable speed, single frame, re¬
verse. List $265. Like new . 199 95
BELL & HOWELL ANGENIEUX, f.95 25mm
lens . 220.93
AND MANY OTHER ITEMS AT BARGAIN PRICES
WESTERN CINE SERVICE
114 East 8th Ave., Denver 3, Colorado
BASS ... is headquarters tor Arriflex 16, the
new Zoomar 16, Cine Specials all models, Bell &
Howell 70-DL, Bolex H-16: Used 35mm. Akeley
#145 with Akeley Gyro tripod, matched pair
Tessar 5 cm. F:2.7 lenses, magazines, case, extra
lenses, $250.00; Used 35mm. DeBrie Parvo Model
G, all metal, 32mm. B&L W.A. F:4.5, 2" Tessar
F:2.5, 50mm. Ultrastigmat F: 1 .9, 3" Goerz Hypar
F: 3.5 , 12 cm. C. Z. Tessar F:4.5, masks, pan and
tilt tripod, magazines, carrying cases, $250.00;
H-16 DeLuxe Bolex, 11" F: 1 .5, 0.7" F:2.5 W.A.,
filter slot, $275.00; Victor 5, 1" F: 1 .5, 3" F:3.5
Wollensak lenses, $125.00; Cine Special II, 1"
F: 1 .4 Ektar, optical finder, reflex finder, Yolo fader,
Case, $795.00. Best buys . . . Best trades always.
BASS CAMERA CO., Dept. AC, 179 W. Madison
St., Chicago 8, III.
CAMERETTE 16mm/35mm, variable 200 degree shut¬
ter, 18.5 T stopped Angenieux lens, 32mm T
stopped Angenieux lens, 40mm T stopped Angenieux
lens, 75mm Kinoptic lens, 13mm Elgeet lens,- two
400 ft. 35mm magazines, two 400 ft. 16mm maga¬
zines, synchronous motor and cables, 6/8 volt with
motor, 2 6/8 volt wet cell batteries, battery charger,
matte box, mattes and poles, cases for all equip¬
ment. All like new and in perfect running order
. . . $3700. HASKELL PETE WEXLER, Juneberry
Road, Deerfield, Illinois.
BELL & HOWELL 16mm Model H, 400 ft. magazine,
Ektar 102mm 2.7 lens, Ektar 63mm 2 lens, B&H
case, cables, belt, objectives for wide angle 4 inch,
6 inch. This camera almost unused and guaranteed
in excellent condition . . . $930. HASKELL PETE
WEXLER, Juneberry Road, Deerfield, Illinois.
WE ALWAYS HAVE BARGAINS
in Professional 35 & 16mm equipment.
CAMERAS — LIGHTS
MAGNETIC and OPTICAL
RECORDERS and PLAYBACKS
MOVIOLAS — DOLLYS — BOOMS
Send for our constantly changing list.
Hundreds of Other Production Items.
Write — Wire — Phone
CINEMA SERVICE CORP.
106 West End Avenue, New York 23, N.Y.
TRafalgar 3-1411
WALL S. S. 35MM. SOUND CAMERA
COMPLETE with Galvanometer, amplifier, portable
power supply, 40-50-75 and 100mm. lenses, erect
image viewfinder, complete front attachments, two
1000 ft. magazines. Balanced Tripod, necessary
carrying cases. Overhauled. Guaranteed perfect.
Reasonable.
CAMERA EQUIPMENT COMPANY
1600 Broadway New York 19, N. Y.
AUDIO AKELEY single system camera complete with
Akeley sound head, Gyro tripod, 3 lenses, view
finder, Maurer mixing amplifier. Complete with
cables, power supply and W. E. microphone.
CAMERA EQUIPMENT CO., 1600 Broadway, New
York 19, N.Y. Cable: Cinequip.
PRECISION Magnetic Heads for Engineers - Industry
Erase - Record - Playback
STANCIL-HOFFMAN CORPORATION
921 North Highland Avenue
Hollywood 38, California
(Continued on Next Page >
American Cinematographer
November, 1955
681
Classified Ads
(Continued from. Preceding Page)
WANTED
GO NO FURTHER— WE WANT
Cameras, Dollies, Lenses, Lights,
Moviolas, Printers, Recorders,
Studio or Laboratory Equipment.
We also trade or take consign¬
ments. Set your own price — we’ll
get it.
Western Union-WUX New York,
Phone PL 7-0440
S.O.S. CINEMA SUPPLY CORPORATION
Dept, fc Cable: SOSOUND
602 W. 52nd Street New York 19, N. Y.
Western Branch— 6331 Hollywood Blvd.
Phone HO 7-9202, Hollywood, Calif.
IMMEDIATE CASH PAYMENT FOR
CAMERAS AND EQUIPMENT
NEED EYEMOS (SINGLE LENS AND TURRET)
MITCHELLS, ARRIFLEX, DE BRIES, B&H STANDARDS
AND HI-SPEEDS, WALLS, AKELEYS, CINE SPECIALS,
AURICONS, MAURERS, FILMOS. ALSO BALTARS,
COOKES AND OTHER LENSES. SOUND STAGE
LABORATORY AND EDITING EQUIPMENT OF ALL
TYPES REQUIRED. PLEASE SHIP INSURED OR FOR¬
WARD DESCRIPTIONS AIRMAIL. IMMEDIATE PAY¬
MENT.
GORDON ENTERPRISES • 5363 N. Cahuengo
NORTH HOLLYWOOD, CALIFORNIA
WANTED FOR SPOT CASH
Used Mitchells, Auricons — other Cameras
Moviolas — Editing Equipment — Projectors
Spotlights — Sound Equipment
All Types Used Equipment
From a Splicer to a Complete Studio
Write — Wire — Phone
or Send Equipment in for Spot Cash
FLORMAN & BABB Murray Hill 2-2928
68 West 45th Street New York 36, New York
WANTED
PRODUCTION EQUIPMENT, LABORATORY EQUIPMENT,
EDITING EQUIPMENT, 16mm. and 35mm. FROM SIN
GLE ITEMS TO COMPLETE STUDIOS. TRADES AC¬
CEPTED.
THE CAMERA MART, INC.
1845 Broadway Circle 6-0930 New York 23, N.Y
WANTED TO BUY FOR CASH
CAMERAS AND ACCESSORIES
MITCHELL, B&H, EYEMO, DEBRIE, AKELEY ALSO
LABORATORY AND CUTTING ROOM EQUIPMENT
CAMERA EQUIPMENT COMPANY
1600 BROADWAY, NEW YORK CITY 19
CABLE: CINEQUIP
F & B PAYS MORE
FOR USED 16/35MM EQUIPMENT
WRITE — WIRE — PHONE
FOR OUR CASH OFFER
FLORMAN & BABB MU. 2-2928
70 W. 45TH ST. NEW YORK 36, N Y
WANTED
Mitchell - — - Akeley — B&H — Wall — Eyemo
Cameras — Lenses — Equipment
NATIONAL CINE EQUIPMENT, INC.
209 West 48th St. New York, N Y
POSITIONS WANTED
NEGRO — Catholic, experienced cameraman, 35mm
newsreel, 16mm color productions, editing, light¬
ing, titling, also projectionist. MALCOLM MYERS,
3424 Clark Ave., St. Louis 3, Missouri.
RECORDING ENGINEER — Young motion picture re¬
cording engineer expert all phases of sound re¬
cording, available for immediate assignment. Will
consider any worthwhile proposition. Box 1224,
AMERICAN CINEMATOGRAPHER.
POSITIONS WANTED
NEW CINE CAMERAS
PERMANENT position wanted by 16mm cameraman
familiar with all phases of industrial production.
Write BOX 1220, American Cinematographer.
ASSIGNMENTS WANTED
16MM CAMERAMAN specializing in marine and sub¬
marine photography. Considerable experience in
skin diving and underwater material. Have own
40' boat and equipment for work in Los Angeles
area. Box 1225. AMERICAN CINEMATOGRAPHER.
ALASKA assignments, 16mm sound or silent, 35mm
silent. DON CUTTER, 238 4th Avenue, Anchorage,
Alaska.
LABORATORY & SOUND
ROCKY MOUNTAIN 16MM HEADQUARTERS
Processing — Printing — Recording
Editing — Production — Rental — Sales
DuPont, Eastman and Fastax films in stock.
Write for Price List.
WESTERN CINE SERVICE, INC.
114 E. 8th Ave., Denver 3, Colo. TAbor 5-2812
SOUND RECORDING at a reasonable cost. High
Fidelity 16 or 35. Quality guaranteed. Complete
studio and laboratory services. Color printing and
lacquer coating. ESCAR MOTION PICTURE SERVICE,
INC., 7315 Carnegie Avenue, Cleveland 3, Ohio.
Phone Endicott 1 -2707.
(Continued from page 680)
Incidentally, Kodak has not over¬
looked the possibilities of also improv¬
ing the projection of home movies. De¬
velopment of a new shutter design has
enabled Kodak to produce a new 8mm
projector, the Cine-Kodak Showtime,
which will fill screens up to five feet in
width.
The Showtime’s shutter transmits 60
percent more light than shutters of con¬
ventional design, which, together with
its faster pull-down, makes it possible
for this 500-watt lamp projector to give
illumination equal to that provided by
many projectors equipped with 750- and
1000- watt lamps.
Built into its own case, this projector
is so simple to operate that the manu¬
facturer didn’t print an instruction
manual — all the necessary pointers are
on the inside of the cover.
16mm SOUND and picture editing — sound recording —
music— effects. DON DUNN'S EL RANCHO AUDIO,
near Palos Verdes and L.A. Harbor. 26246 Fairview
Avenue, Lomita, Calif. DAvenport 6-4925.
LABORATORY Services 16mm-35mm. Developing, Print¬
ing & Reduction. Reasonable. Quality guaranteed.
NATIONAL FILM PRODUCTIONS, 955 Diana Ave.,
Akron, Ohio.
PRINTING! REASONABLE PRICES! FREE ESTIMATES!
Sebastian 10934-C Hamlin, North Hollywood, Calif.
INSTRUCTION, CORRESPONDENCE SCHOOLS, ETC.
NATIONWIDE SCHOOL OF CINEMATOGRAPHY— com¬
plete professional course in cinematography, cover¬
ing all phases of motion picture production and
technical aspects. Many leading newsreel and TV
camera men started their careers with a Nation¬
wide diploma. Course now available by mail at
reduced rates, easy installment plan. For details
write NATIONWIDE SCHOOL OF CINEMATOG¬
RAPHY, Dept. A, 4211, Gaston Ave., Dallas, Texas.
SWAPSHOP
USED Auricon Cine-Voice with FILMTRONICS 400 ft.
magazine. Complete outfit. Excellent condition,
$857.00. Price includes amplifier, turret, assembly,
no lenses. One Precision Optical Sound Reader
16-35. $185 value for $125. FILMTRONICS INC., 96
Huntington Street, New London, Conn.
SLIDES
STEREO COLOR DUPLICATES from your slides, 60c;
2x2 25c, mounted. Best custom work. Send for price
list on quantities. BELL SLIDE FILMS, 200 W 56th
St., New York.
» ■
■ ■ d
PROCESSING
Reversal specialists for over a decade.
Our long experience insures superior quality.
Electronically controlled machines keep tem¬
perature constant within .2 of one degree.
National "Brilliantone" Cine prints are the finest
available. Write for free catalogue.
CONTACT PRINTING
WORK PRINTS
EDGE NUMBERING
All work voporotod no oxtro chorgo
B & W DUPLICATING
KODACHROME DUPLICATING
VACUUMATING
NATIONAL CINE LAB
Box 4425
Washington 17. D. C.
STATEMENT REQUIRED BY THE ACT OF AUGUST 24,
1912, AS AMENDED BY THE ACTS OF MARCH 3,
1933, AND JULY 2, 1946 (Title 39, United States
Code, Section 233) SHOWING THE OWNERSHIP,
MANAGEMENT, AND CIRCULATION OF
AMERICAN CINEMATOGRAPHER, published monthly at
Los Angeles, California, for October 1, 1955.
1. The names and addresses of the publisher,
editor, managing editor and business managers are:
Publisher, A.S.C. Agency, Inc., 1782 No. Orange
Drive, Hollywood 28, Calif.; Editor, Arthur E. Gavin,
1782 No. Orange Drive, Hollywood 28, Calif.; Man¬
aging Editor, Arthur E. Gavin, 1782 No. Orange
Drive, Hollywood 28, Calif.
2. The owner is: (If owned by a corporation, its
name and address must be stated and also imme¬
diately thereunder the names and addresses of stock¬
holders owning or holding 1 percent or more of
total amount of stock. If not owned by a corpora¬
tion, the names and addresses of the individual
owners must be given. If owned by a partnership
or other unincorporated firm, its name and address,
as well as that of each individual member, must
be given.) A.S.C. Agency, Inc., 1782 N. Orange Dr.,
Hollywood, Calif., wholly owned by the American
Society of Cinematographers, Inc., a non-profit cor¬
poration whose address is 1782 N. Orange Dr.,
Hollywood, Calif. Officers of the American Society
of Cinematographers, Inc., are: President, Arthur
Miller, 1782 N. Orange Dr., Hollywood, Calif.;
1st Vice-President, Sol Halprin, 1782 N. Orange Dr.,
Hollywood, Calif.; 2nd Vice-President, William Ska 1 1 ,
1782 N. Orange Dr., Hollywood, Calif.; 3rd Vic'e-
President, Alfred Gilks, 1782 N. Orange Dr., Holly¬
wood, Calif.; Secretary, Charles Clarke, 1782 N.
Orange Dr., Hollywood, Calif.; Treasurer, Walter
Strenge, 1782 N. Orange Dr., Hollywood, Calif.;
Sergeant-At-Arms, Bob De Grasse, 1782 N. Orange
Dr., Hollywood, Calif.
3. The known bondholders, mortgagees, and other
security holders owning or holding 1 percent or
more of total amount of bonds, mortgages, or other
securities are: (If there are none, so state.) None.
4. Paragraphs 2 and 3 include, in cases where
the stockholder or security holder appears upon tTie
books of the company as trustee or in any other
fiduciary relation, the name of the person or cor¬
poration for whom such trustee is acting,- also the
statements in the two paragraphs show the affiant's
full knowledge and belief as to the circumstances
and conditions under which stockholders and security
holders who do not appear upon the books of the
company as trustees, hold stock and securities in a
capacity other than that of a bona fide owner.
5. The average number of copies of each issue
of this publication sold or distributed, through the
mails or otherwise, to paid subscribers during the
12 months preceding the date shown above was-.
(This information is required from daily, weekly,
semiweekly, and triweekly newspapers only.)
ARTHUR E. GAVIN,
Editor.
Sworn to and subscribed before me this 30th day
of September, 1955.
(Seal) C. K. Buchanan,
Notary Public.
(My commission expires October 10, 1956.)
682
American Cinematographer
November, 1955
to put mood on film...
Clark Gable and Jane Russell in " The Tall Men/' 20th Century-Fox CinemaScope production,
Filmed with B&L 40mm Baltar CinemaScope Lenses— combined cine-anamorphic lens, single
focusing adjustment.
ORDER from your profes¬
sional camera manufacturer, or
WRITE to Bausch & Lomb
Optical Co., 30047 Martin St.,
Rochester 2, N. Y.
It’s the skill of the master
cinematographer that makes filmed sequences
tingle with life. And it’s experience, too —
he insists on the world’s finest lenses to give
him exactly the effects he wants.
Academy Honorary Award for optical service to the industry
For balanced
color... use byron
color-correct*
prints
Byron color-correctv' prints give you color that is
never too light — never too dark — color that is always
right ! Such perfection is a regular service at Byron
— hacked by efficient personnel, precision
equipment, operating in a plant designed for peak
performance. Byron quality, Byron service costs
no more, and is available in 8 hours if necessary.
Write, wire, or call today for an
early start on your job !
. . . and for balanced service
byron offers you these 16rhm
production facilities:
script-
art-
titling-
animation-
editing-
sound effects-
recording
■ location photography
■music library
sound stage
complete black and white
laboratory facilities
precision magnetic striping
byron
Studios and Laboratory
c
1 226 Wisconsin Avenue, N.W., Washington 7, D.C. DUpont 7-1800
*Reg. U. S. Patent Office
?£^™£?R YOUR COMPLIMENTARY COPY OF THE 3 ILLUSTRATED BULLETINS ON ‘PRE-PRINT PREP¬
ARATION” AS DEVELOPED AND RECOMMENDED BY THE ASSOCIATION OF CINEMA LABORATORIES
THE MAGAZINE OF MOTION PICTU
R E
DECEMBER • 1955
PHOTOGRAPHY
/ft This /sstte ■ ■ ■
• A Day With A Camera
• George Eastman House Cites Veteran Cameramen
• Effect Lighting In Commercial Film Production
25c
FOREIGN 35c
NOW! These six laboratories offer fast magnetic
Magna-Striping® for all 16mm films!
Byron Labs
1226 Wisconsin Ave., Washington, D.C,
Colburn Labs
164 N. Wacker Drive, Chicago 6, Illinois
Consolidated Film Industries, Inc.
959 Seward Street, Hollywood 38, California
Animex
Nieuwe Gracht 7, Haarlem, Holland
Sathaporn Cinema Co.
2196 Tung Mahamek, Bangkok, Thailand
Here’s real striping. Striping that will never soften
and come off because of projection lamp heat.
Magna-Stripe has the original balancing stripe.
And more: Magna-Stripe is the only magnetic
striping used on Cinemascope films produced by
major Hollywood producers. Soundcraft won an
“Oscar” for this process in 1953.
Three sizes of Magna-Stripe are available:
25-mil Magna-Stripe for double-perforated
silent film
50-mil Magna-Stripe for both magnetic and
photographic sound
100-mil Magna-Stripe for all-magnetic
sound track
FOR EVERY SOUND REASON
reeves SOUNDCRAFT corp
10 East 52nd Street, New York 22, N. Y.
Reeves Soundcraft
671 Hope St., Springdale, Conn.
DEALERS
NEW YORK — Camera Equipment Co., 1600 Broadway,
New York 19. JUdson 6 1420. Cable Address CINEQUIP.
CHICAGO — Zenith Cinema Service, Inc., 3252 Foster
Ave., Chicago 25, III. IRving 8-2104.
SAN FRANCISCO — Brooks Camera Co., 45 Kearney St.,
San Francisco, Calif. EXbrook 2-7348.
CANADA -Alex L. Clark, Ltd., 3745 Bloor St., Toronto
18, Ontario. BEImont 1-3303.
a complete
27-lb. sound
ASYNC MANUFACTURING CO., Ltd., 5546 Satsuma Ave., North Hollywood 1, Calif.
• High gain "long-shot" microphone channel.
• Dialog equalization for "speech-music" selection.
• Self-contained playback system for "film-direct" monitor.
• Famous Magnasync "Synkinetic" precision film transport.
• High speed rewind, sync speed reverse and fast forward.
• Convenient arrangement for "sync marking."
• Footage counter, extended capacity arms, "quick-detach" mount for
special motors, projector cable interlocks and many other compatible
accessories to help increase production efficiency.
• Unconditionally guaranteed specifications.
send for complete specifications and delivery schedule.
IN THE DESIGN AND MANUFACTURE OF QUALITY MAGNETIC FILM RECORDING DEVICES
Magnasync X-U00 Recorder
FEATURING...
Producer Net Price $895.00
F.O.B. North Hollywood, Calif.
AMERICAN
whose
intelligent
demand
has
sr
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
PUBLICATION OF THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
Iffllllllllllllllllllllllllllllllllfllllll^
Arthur E. Gavin, Editor
Marion Hutchins, Editorial Assistant Emery Huse, Technical Editor
Editorial Advisory Board: John Arnold, Arthur Edeson, Lee Garmes, Charles
Rosher, Leon Shamroy, Fred Gage, Glenn R. Kershner
Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Calif.
Telephone: Hollywood 7-2135
VOL. 36
DECEMBER • 1955 NO. 12
In This Issue
ARTICLES
Five Veteran Cinematographers Honored With "George’ Awards
And Now 55mm — By Charles G. Clarke, A.S.C. -
A Day With a Camera — By Allan Balter .
Use of Effect Lighting in Commercial Film Production
— By Charles Loring
New Lightweight VistaVision Camera .
Movie Studio in a Truck — By Frank J. Roh, Jr. -
Magnetic Recording for Auricon Cameras .
705
706
708
710
713
714
717
create
AMATEUR CINEMATOGRAPHY
lqh»MHi|t|yl
. . . our
sincere
gratitude
appreciation
CONSOLIDATED mmjm
FILM
INDUSTRIES
959 Seward St., Hollywood 38, Calif.
1740 Broadway, New York 19, N. Y.
Filming With Filmorama — By Clifford Harrington . 718
The Drama of Color — By Nadine Pizzo . 720
FEATURES
What’s New in Equipment, Accessories, Service
Hollywood Bulletin Board -
Your Questions — By Jackson J. Rose, A.S.C. -
Psychology and the Screen ....
Hollywood Studio Production
Annual Index .
690
694
696
700
732
737
ON THE COVER
THE “GEORGE” AWARD, created and sponsored by the George Eastman
House, Rochester, New York, and presented recently to 20 veteran cinema¬
tographers, motion picture directors, actors and actresses for distinctive
contribution to the American Cinema from 1915 to 1925. See story begin¬
ning on page 705 of this issue. — Photo by Danny Rouzer.
pilllllflllllllllllllllllllllllllllllllllll
1 AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. S
B C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. Entered as second class matter j|
■ Nov 18, 1937, at the postoffice at Los Angeles, Calif., under act of March 3, 1879. SUB- j|
M SCR1PTIONS: United States and Canada, $3.00 per year; Foreign, including Pan-American =
J§ Union, $4.00 per year. Single copies, 25 cents; back numbers, 30 cents; foreign single m
§g copies, 35 cents; back numbers, 40 cents. Advertising rates on application. Copyright 1955 j
m by A. S. C. Agency, Inc.
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii . . . . . 111111111111111?
Mitchell Camera Films full color panoramic views of Roman Soldier sequence from the Bob Jones University Film, "Wine of Morning.
UNIVERSITY MAKES FEATURE FILM
University Film Production Unit
Shoots Full-Length Motion Picture on Campus
In Greenville, South Carolina, Bob Jones University is demonstrating
a remarkable new trend in campus-produced films. This institution has
not only reduced filming costs, but has created professional theatre-
quality films, like the full-length, feature “Wine of Morning,” to equal
Hollywood’s best efforts.
These remarkable changes have been accomplished through the ap¬
plication of motion picture set techniques and the adoption of profes¬
sional equipment used by major motion picture studios. The leading
example of this development is seen in the increased use of the Mitchell
16mm Professional Camera, whose service-free operation and broad
range of use has materially cut the costs of campus film production.
Representative of film departments owning Mitchell Cameras are: Bob
Jones University, Georgia Institute of Technology, Moody Institute of
Science, and the Universities of California ... Mississippi ... Southern
California ... and Washington.
Complete information on Mitchell Cameras is available upon request
on your letterhead.
Camera instructions are given by Mrs. Katherine Stenholm,
Director of the Bob Jones University's film unit.
*85% of the professional motion pictures shown throughout the world are filmed with a Mitchell Camera.
On the set of Pilate's Judgment Hall University cameraman uses standard
the Mitchell Camera focuses on set de- Hollywood studio 16mm Mitchell Camera
tails created by students. for interior scene.
CORPORATION
666 WEST HARVARD STREET
GLENDALE 4. CALIFORNIA
Cable Address: ‘‘MITCAMCO”
DUNNING MAGIC DOT
PRINTER CUEING UNIT
COMPRISES — (1) Supply of high-conductive Anson-
made pressure adhesive tape . . . 12) Special
punch for cutting, affixing and positioning Magic
Dots to film edge . . . (31 Roller contacter to
instantly fit Models “D" or "J" B&H printers . . .
(4) Electrical control box for activating light change
and fader impulses.
Consolidated Film Industries' installation
reports “Over 90,000 changes without
a miss.”
Complete 4-part unit, $360.00
Also single frame
tripping devices for
TIME LAPSE PHOTOGRAPHY
Battery or AC operated.
ANSON RESEARCH CO.
4337 Clybourne, North Hollywood, Calif.
The FINEST
400-Ft. CONVERSION
of Auricon Cine-Voice
n i _ NOW
$395
With Your Magazine
Filmtronics, Inc.
Det. A, 96 Huntington St., New London, Conn.
. . . in equipment, accessories, service
plosive atmospheric conditions may pre¬
vail. The unit may also be used with
Bolex H-16 and Cine-Kodak K-100
cameras with special mountings.
8mm Reels and Cans
Eastman Kodak Company, through its
retail outlets, are again making avail¬
able 200- and 400-foot 8mm metal reels
and cans for those who prefer metal in¬
stead of plastic. Cans are 50^ and 80^
each without reels, or $1.15 and $1.75
with reels.
Company states that the plastic reels
and cans will continue to be available.
Cine Lens Attachments
Wollensak Optical Co., Rochester,
N. Y., announces a new Cine Wide-Angle
Lens attachment and a Cine Telephoto
Lens Attachment for Bell & Howell 252
and 220 and Kodak Brownie f/2.7 and
f/1.9 cameras. One lens fits all cameras,
made possible by special adapter ring
for the B&H cameras. Ring is not re¬
quired for the Brownie cameras. Each
lens lists for $22.95 each. Linders are
available at $3.00 each.
Generator Rentals
J. G. McAlister, Inc., Hollywood, has
acquired the Bracken Motor Service, a
leading generator rental company in
Hollywood. Consolidation will give
McAlister the most complete line of
portable electric generator equipment in
the motion picture industry.
Microphones
S.O.S. Cinema Supply Company, 602
West 52nd Street, N. Y., is now dis¬
tributing the AKG Microphones. Same
product is also available through com¬
pany’s Hollywood office, 6331 Holly¬
wood Blvd.
Dual Cine Lens
Ednalite Optical Co., Peekskill, N. Y.,
announces a unique cine camera lens
called the uDual-Lens,” which enables
8mm camera owners to make telephoto
and wide-angle shots with one reversible
lens, giving them the versatility of a
turret camera. Lens slips over regular
camera lens. No light compensation is
required and lens is color-corrected and
hard-coated.
Sync Motor Drive
PAR Products Corp., 926 No. Citrus
Ave., Hollywood 38, Calif., offers a new
non-sparking synchronous 24 fps motor
drive for Cine Special cameras I and
II. Leatures include explosion-resistant
starting switch and wall plug. Unit is
designed specifically for use with cam¬
eras in hospital rooms or wherever ex¬
Automatic Printer Fader
Bell & Howell Co., 7100 McCormick
Road, Chicago 45, Ill., announces a sim¬
ple easy-to-install automatic fader for
installation on model D or J printers.
User can install the fader without need
of sending printer to the factory.
Net price is $700.00.
(Continued on Page 698)
690
American Cinematographer
December, 1955
JUNIOR
-MOST
They’ve been standing on their heads,
trying to copy PROFESSIONAL JUNIOR
Tripod — but nobody can get around our
exclusive patented features.
Features which make PROFESSIONAL
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First choice of our Armed Forces.
Is your work "dragging” for want
of an outstanding tripod? Get
PROFESSIONAL JUNIOR—
the price hasn't changed in
15 years. Get it today.
Professional Junior
GEARED HEAD
interchangeable with
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same tripod.
New Professional Junior Adjustable wood
BABY TRIPOD
— for friction and geared Heads.
Has substantial shoe and spur.
Measures from floor to flange 25” extended —
17" collapsed.
| Dept. A- 12-2 > 1600 Broadway • New York City
^ea^on’s; (greetings;
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• CAMART TIGHTWIND ADAPTER
Modern film editors use the Camart Tightwind adapter to rewind 16mm
and 35mm film on cores, prevents scratches and abrasions, winds the
film smooth, tight, and even. Why take chances when you can protect
your valuable film for a very small investment. Send for descriptive
literature. Price: $29.00, money back guarantee.
® NEW WIDE SCREEN VISTASCOPE LENS
Now you can photograph and project 16mm pictures
with a single Vistascope lens and get a picture that
is twice as wide as it is high. Sharp definition for
black and white and color. Only $125.00.
® AURICON PRO 600 CAMERA
Auricon’s latest development in sound-
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of Super-1200 and Cine Voice single
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TIME PAYMENTS ARRANGED.
Patent
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• BARDWELL-McALISTER LIGHTS
Complete stock of 750 watt to 5000 watt spot¬
lights and accessories available for immediate
delivery. Prices from $81.00 and up.
The new ZOOMAR-1 6 Varifocal lens, speed f2.8,
coupled viewfinder, range 25mm to 75mm, ex¬
treme! y sharp definition, standard bayonet mount
for Cine-Special, takes c-mounf adapter for use
with other 16mm cameras. Price: $600.00.
Model 16-S, mounted for the Arrifiex 16mm
camera, immediate delivery. Price: $579.00.
• SLATE & CLAPSTICK
Still the BEST BUY at . . . $4.75.
DIRECTOR
CAMERA
SOUND I SCENE
DATE
FROM
the newest
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SAVE MONEY.. . order direct from manufacture i
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Send coupon today for colorful, free catalog-
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on the J.G. McAlister factory-direct,
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J. G. McAlister, Inc.
1117 No. McCadden Place
Hollywood 38, Calif.
G CTltlcTTXSTl •
Please send me free catalog -brochure, ‘‘New
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facts on the economical, factory-direct plan. No
obligation on my part.
NAME _ TITLE -
COMPANY _ _ _ _ _
ADDRESS - — -
I
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■ CITY _ ZONE _ STATE -
Hollywood
Bulletin Board
JOHN BOYLE was among first to receive new ASC membership certificates
presented at the Society’s November meeting by ASC president Arthur
Miller (center). Walter Strenge read the roster.
NORBERT BRODINE (center) was one of first to receive membership
certificate, being in the “B’s” near the top of list. Admiring plaque is
Bob Pittack (left), and Ernest Palmer.
DEDICATED at its monthly meeting last month was the ASC's new
Wall of Fame on which hangs mounted photos of members who have
won Academy Awards for cinematography. Idea originated with Jack-
son Rose (right) shown above with president Arthur Miller.
ARTHUR MILLER presented Daulat S. Masuda with two volumes of the
ACS’s Cinematographic Annual. Masuda was guest of the Society last
month, and is president of Delta Kappa Alpha fraternity at the Uni¬
versity of Southern California, where he is studying cinema.
A.S.C. Members attending ihe Society’s
regular monthly meeting in November
were presented with new membership
certificates mounted in plaques. The
certificates augment the regular Society
membership cards. Certificate design
was developed by Arthur Miller, presi¬
dent of the Society.
e • •
Arthur Arling, A.S.C., upon completion
of his assignment to direct the photog¬
raphy of “Fearful Decision” at M-G-M.
embarked on a six-weeks vacation-tour
of Europe with Mrs. Arling. Trip will
take the Arlings through Spain, the
Riviera, Mediterranean, and Switzer¬
land.
Edward Colman, A.S.C., last month
started his fourth consecutive year as
director of photography of the “Drag¬
net” TV film series.
First film of the new series was shot
almost entirely on location at the Los
Angeles Police Department Administra¬
tion Building, and featured a long dolly
shot down corridor of the building and
use of Plus-X film.
To date, Colman has shot 141 “Drag¬
net” films plus the “Dragnet” feature
at Warner Brothers stddio.
• • •
Jackson J. Rose, A.S.C., and Arthur
Miller, A.S.C. President, addressed the
Cinema Class at the University of
Southern California on December 2nd.
Mr. Miller, who was voted to Honorary
Membership in the University’s Delta
Kappa Alpha fraternity sometime ago
was presented with a membership cer¬
tificate.
• • •
The American Society of Cinematog¬
raphers admitted the following to ac¬
tive membership last month:
Gordon Avil, Jockey Feindel, Joe No¬
vak, Lester Shorr, Fred West, William
Whitley and Charles Van Enger.
J. T. Dougherty and V. M. Salter,
both with DuPont Photo Products divi¬
sion, were admitted to Associate Mem¬
bership in the Society.
694 •
American Cinematographer
December, 1955
16 MM SOUND-ON - FILM SINCE 1931
FILMAGNETIC
TRADE MARK
AN FEATURE
AVAILABLE FOR FACTORY INSTALLATION
ON ALL NEW OR EXISTING AURICON
OPTICAL SOUND-ON-FILM CAMERAS
F
Auricon proudly presents “Filmagnetic” High-Fidelity sound-on-film Recording, for
lip-synchronized Talking Pictures and Music of Quality, on 16 mm black and white or color
film pre-striped for magnetic sound before it is exposed to light. "Filmagnetic” sound and
optical picture are recorded Single-System on the same film at the same time! The “Filmagnetic”
Unit, installed at the Factory in any Auricon Camera, can be temporarily removed without the
use of tools, thus providing a choice of High-Fidelity Optical or Magnetic sound-tracks. Your
pre-striped film with magnetic sound lip-synchronized to your picture, passes through the normal
picture-development and is played back on any 16 mm Magnetic Sound Projector, including the
Ampro, B&H, RCA, and Others. " Filmagnetic ” Outfit complete . . .$870.00
PLEASE MAIL COUPON BELOW FOR FREE INFORMATION . ..
■FILMAGNETIC" SOUND FOR COLOR OR BLACK & WHITE
(FILMAGNETIC PATENTS PENDING)
"Filmagnetic” Twin-Head Camera
Recording Unit, with Record and
Instant-Monitor Magnetic Heads,
which automatically open for easy
threading ... complete with Model
MA-10 Amplifier, $870.00 installed
on any new Auricon Camera at the
Factory. Small extra installation
charge on existing Auricon Cameras.
"Filmagnetic” 3 Input Amplifier,
Model MA-10, with High-Fidelity
Microphone, complete Cables and
Batteries, in a Cowhide-Leather
Carrying Case. Super-portable,
weighs only 7 pounds, carries easily
with shoulder-strap during operation!
Please send me free information on “Filmagnetic”
equipment for Auricon Cameras.
□ Without obligation, please send me cost a' installing
“Filmagnetic” on my Auricon Model . Camera.
. TITLE . .
mwm
G U AR ANTE E
All Auricon Equipment is sold with
a 30 day money-back guarantee.
You must be satisfied!
S?§
I
m
AURICON Division
BERNDT-BACH, INC.
6902 Romaine Street
Hollywood 38, California
NAME .
>®UG7ayb-R
V OHIO t IN ftlNCIPAl CITItS
U.S. PAT. OFF
I L
7 A U
AG
T I C
EE New 35 mm Model 2A ==
= With 180° Shutter =
i a TRULY GRtAl ^
— For tough and trying assign- —
= ments, ARRIFLEX 35 is in a =
class by itself. Reflex focusing ^
= through photographing lens ~
m while camera is operating — ~
this is just one outstanding ~
— — ARRIFLEX feature. ~
CAMERA i
E! for TV, Newsreel
EE and commercial
EE Equipped with bright, right- ==
~ side-up image finder, 6V2 x EE
EE magnification. Solves all par- zr:
= allax problems. 3 lens turret. ==
— Variable speed motor built ~
into handle operates from ^
— lightweight battery. Tachom- rE
EE eter registering from 0 to 50 EE
- — frames per second. Compact, EE
EE lightweight for either tripod EEE
or hand-held filming. Takes
z= 200' or 400' magazine. Write EE
EE for free folder. “
Blimp now available.
= 16mm ARRIFLEX also available. —
YOUR QUESTIONS
ANSWERED BY JACKSON J. ROSE , A.S.C.
Questions of general interest will be
answered in this column. We re¬
gret that demands on the editor’s time
will not permit personal replies. — Ed.
QSome of my professional cameramen
friends use an amber viewing glass,
while others use a blue one when shoot¬
ing black-and-white film. What is the
function of each and which is the best
to use. — A. G., Colo.
They are both useful, and each is used
for a different purpose. The amber glass
is used to determine the densities of the
various colors in a scene with relation
to each other. The blue glass is used
principally when arc lamps are used
for set illumination, and also to check
density of scene on background screen
when shooting process shots.
QWliat does the symbol “f” mean with
relation to the stops on a lens? —
P. J.. Penna.
The “f” symbol stands for focal ratio,
that is, the ratio of the diaphragm open¬
ing to the focal length of the lens. To
determine the “f ’ number of a given
lens, divide the focal length by the
amount of the diaphragm opening. For
example: if lens is 4" in focal length
and the diaphragm opening is 2", the
answer, which is the “f” stop figure, is
2, (4" divided by 2").
QSome of the films I have seen on
television have been made as early
as 1912. Are the cameramen who shot
these films still active in Hollywood film
production? — H. H., N. Y.
You undoubtedly refer to the pictures
in the “Movie Museum” TV series. Yes,
many of the veterans are still photo¬
graphing features or TV films in Holly¬
wood; among them are Joseph Rutten-
berg, John Seitz, George Folsey, Lucien
Andriot, Robert Planck, Robert De-
Grasse, Hal Mohr, Gil Warrenton and
Karl Struss — all members of the Amer¬
ican Society of Cinematographers.
Q Exactly what is the function of the
Special Photographic Effects depart¬
ment in a studio? — D. G., Ariz.
The Special Photographic Effects De¬
partment today creates the so-called
trick effects that in the old silent days
were done by the cameraman right in
the camera as the picture was being
filmed.
Today this work is highly specialized
and involves a great deal of complex
precision equipment. The department
not only does the work better hut also
speeds up production on the set by re¬
lieving the director of photography of
the responsibility of doing trick work
on the set.
QI have a Bolex H-16 cine camera.
What is the shutter opening and
what exposure does it give? — P. M.,
Hawaii.
This information is probably available
in your camera instruction manual. It's
also available in the American Cinema¬
tographer Handbook. The Bolex camera
shutter opening is 190 degrees. The ex¬
posure rate, of course depends upon the
camera speed at which you shoot. At
16 frames per second the exposure per
frame is l/30th of a second; at 24
f.p.s. it is l/64th of a second.
QThe action in my home movie films
is sometimes very “jumpy” and at
other times too slow. What is the reason
for this? K. P., Conn.
There could be any number of reasons
for your trouble. If you mean the action
of the people within a scene is rather
stilted it is possible that you shot your
scenes at one speed, then projected them
at a faster speed. In other words, if you
shoot at 8 f.p.s. or 16 f.p.s., then pro¬
ject at 24 f.p.s., your screen action will
be too fast and the action “jumpy.”
Keep your camera speed and your
projection speed the same for best
screen results.
QWliat filters do the professional cin¬
ematographers use to get those beau¬
tiful and dramatic cloud ell’ects in black-
and-white? A. A., Tex.
Where panchromatic film is used and
the sun is bright and the sky clear blue,
a red filter, such as a 23A, will pro¬
duce the necessary overcorrection to
render cloud formations fleecy white
against deep, dark skies. Such contrasts
can rarely be obtained where there is
haze or fog present in the atmosphere.
Where an extreme effect is desired,
as is often the case where night scenes
are filmed in the daytime, infra-red
film is used.
The use of any filter on the camera,
of course, makes it necessary to com¬
pensate for the light held back, by open¬
ing up the lens. The amount of exposure
increase depends upon the filter factor,
and for this information refer to any
reliable filter factor chart.
696
Amkrican Cinematographer
December, 1955
.
now in release
Congratulations WALT DISNEY.1
On your newest and most exciting
True-Life Adventure feature...
mm im
**,*.»* TECHNICOLOR
We are proud that the
ARRIFLEX 16mm camera and KILFITT KILAR
Tele-lenses played an important part
in the filming of this dramatic feature.
rt\ DD 235 Fourth Avenue, New York 3, N. Y.
PHUIU vUKr • 7303 Melrose Avenue, Hollywood 26, Calif.
Sole U.S. Distributor for Arriflex Cameras, Arri Tripods
and equipment — Kilfitt Kilar Lenses.
WHAT’S NEW
is our business
personalized
service
ROUND-THE-CLOCK SERVICES
East
Negative Developing
•
First Print Department
Ultra Violet and
Flash Patch Printing
•
16mm and 35mm
Release Printing
•
Kodachrome Printing
63 Editing Rooms
SPECIAL TV SERVICES
For Color it's
• vtW'Y
Now
Celebrating
Our 25th
Anniversary
MOVIELAB FILM LABORATORIES, INC.
619 West 54th Street, New York 19, N. Y. JUdson 6-0360
(Continued from Page 690)
All-Angle Doily
J. G. McAlister, Inc., 1117 No. Mc-
Cadden PI., Hollywood 38, Calif., has
acquired the manufacturing, sales and
rental rights to the original Dual Steer¬
ing, All-angle Camera Dolly formerly
manufactured by Stevens Rentals, Hol¬
lywood. Manufacturing has begun on
additional units which are to be made
available on rental to motion picture
and TV studios throughout the country.
Matte Box
National Cine Equipment Co., Inc.,
209 West 48th Street, New York 36,
N. Y., announces a new combination
matte box and sunshade for use with
8mm cine cameras and all professional
and non-professional 16mm cameras.
Unit provides for use of 2" square and
3" square glass or gelatine filters, and
various effect devices sue has gauzes,
diffusion filters, effect filters, etc.
The matte box is made of aluminum
castings. Support rods are of dural. The
base will fit all cameras. A feature is
that it may be used with the Cine-
Special without the need for dismount¬
ing the camera whenever film magazines
are to be changed. List price is $44.95.
Descriptive literature is available.
Film Processors
An economical, low-priced line of au¬
tomatic 16mm reversal, negative-positive
film processing machines is announced
by Milford Film Machine, P.O. Box 343,
Milford, Conn. Equipment features day¬
light operation, quality controls, slip-
clutch film drive, and automatic opera¬
tion. Prices start at $800, F.O.B. fac¬
tory. Descriptive brochure is available.
Film Coding Machine
Hollywood Film Company, 956 No.
Seward Street, Hollywood 38, Calif., of¬
fers a new coding machine for 16mm
and 35mm film. Both models will code
up to and including 3.000 ft. reels
of film.
698
American Cinematographer
December, 1955
RESOLVED:
to try out thoroughly during 1956
the personalized service and extra
attention which come as an auto¬
matic bonus with every job by
Capital Film Laboratories
NEW YEAR
RESOLUTION
YOU’LL EVER
MAKE:
Miuwin
SCOTCH
BRAND
CAPITAL
FILM LABORATORIES, INC.
1905 Fairview Ave., N. E., Washington 2, D. C.
Telephone: LAwrence 6-4634
• Magnetic^o/Laminate
• RCA Sound Recording
• Editing
• Processing
• Printing
• Service Studios
ONE CAMERA
16mm or 35mm
in 10 SECONDS!
Camerette^
Reflex Motion Picture Camera
Th* perfect camera for the motion picture film
maker working in both 16mm or 35mm color
er black and white.
LOOK AT THESE ADVANTAGES —
• The same lenses, same motor drives, same
sound blimp and accessory equipment used
for both 16mm or 35mm — to convert simply
change the magazine.
• Precise rugged movement
• Reflex viewing
• 200 degree adjustable shutter
• Divergent three lens turret
• Automatic film gate 400' magazines 16 or
35mm — the 16mm magazine will accom¬
modate daylight spools as well as standard
core load.
• Light weight — only 14 pounds with 3
lenses, 400' magazine, and 6/8 volt motor.
Write for brochure
patents coutant-mathot
Manufactured by Ets. Cine. Eclair, Paris
700 • American Cinematographer
Psychology And The Screen
By HERB A. LIGHTMAN
WE are often prone to think of film
production as a blending of me¬
chanical and creative arts. It is surely
all of that, but there is something
more that goes into the making of a suc¬
cessful him — an intangible essence that
reaches out to hlmgoers and makes them
laugh or cry, cheer the hero, hiss the
villain {sub -consciously, at least). It is
something you cannot put your huger
on. but it must be present if an audience
is to react appreciatively to a motion
picture. This abstract force is based
upon an understanding of people and
their actions, how they think and react,
why they do what they do. We have
come to know it by the name psychology.
Once a step-child in the realm of
pseudo-science, psychology has in this
century reached scientific maturity and
has incidentally become an integral ele¬
ment of motion picture-making. Star
names, smooth production, lavish sets
are no longer sufficient to guarantee the
success of a him. The novelty of lavish¬
ness has worn thin, and producers now
realize that they must give an audience
something it can “sink its teeth into,” a
story of substantial fabric based on
sound psychology. This is especially sig¬
nificant in view of the fact that him
audiences, especially in America, do not
go to motion picture theatres to think.
Rather, they go with the expectation of
taking part in a vicarious emotional ex¬
perience. As a result, our cinema ap¬
peals not to the intellect , but to the
emotions.
Film production consists of many var¬
ied elements: script, camera, direction,
sound, music, editing, etc. We may vis¬
ualize the him itself as a symphony with
all of these elements as instruments
playing together to produce a harmoni¬
ous dramatic pattern, and balanced to
extract certain emphatic responses from
the audience. The point of balance is
often exceedingly fine. Sometimes in the
midst of a tensely dramatic scene an
audience will begin to laugh for no ap¬
parent reason. This inappropriate re¬
action can always be traced to faulty
psychology in some phase of production.
That is why intelligent (and successful)
producers now plan their productions
with careful attention to correct psy¬
chological approach.
Psychology applied to the screen acts
as a kind of “sixth sense. The audience
should react to it without being con¬
scious of the machinery behind the
scenes. Also, if too frequently used, psy¬
chological touches tend to lose their
effectiveness. “Citizen Kane,” directed
by Orson Welles and strikingly photo-
® December, 1955
graphed by the late Gregg Toland, was
technically one of the finest pictures ever
made. Violating all rules of cinematic
convention, it introduced many original
techniques to the screen and leaned
heavily on psychological approaches to
gain audience reaction. However, there
were sequences when too many of these
devices were used at the same time, vie-
ing for audience-attention in such a way
as to cloud the dramatic issues pre¬
sented. Too much of a good thing weak¬
ened the impact of an otherwise master¬
ful film.
Association of ideas plays an impor¬
tant part in stimulating audience re¬
action. Each member of an audience will
tend to associate certain phases of the
photoplay with episodes out of his own
experience, and will then accept the
various ideas and stimuli that follow,
reacting to them and experiencing a
state of suspense concerning the outcome
of separate sequences and the film as
a whole.
It is the sustaining of strong mood
that holds an audience firmly in grasp
and leads it to accept a pattern of facts
which, if presented singly, would not be
credible. Generally, inept handling of
these values in the past has resulted in
a common American aversion to motion
picture themes based on fantasy. And
yet, Americans are basically an imagi¬
native people and will accept well-pre¬
sented fantasy.
Cinematic symbolism is a psycholog¬
ical device that is most generally wasted
on American audiences. European film¬
makers delight in showing wind-swept
fields and flashes of lightning to symbol¬
ize clashes of emotion. It has become a
cliche to show waves dashing against a
rocky shore in order to represent the re¬
lease of human passions. Such symbol¬
ism is either too farfetched or downright
melodramatic and American audiences
much prefer the more direct approach.
The technician most responsible for
psychology applied or misapplied to the
motion picture is, of course, the direc¬
tor. He is the conductor of our cine¬
matic symphony. He is the one respon¬
sible for the careful blending of all the
elements that go to make up the produc¬
tion.
A good deal of the power of action
and suspense films is created in the cut¬
ting room. It is here, too. that the in¬
tangible but psychologically essential
elements of pace, rhythm, and tempo
are injected into the film. Editing re¬
quires a certain “feel" for dramatic
values plus a keen understanding of
audience psychology. end
CAMERETTE
Now Available with Two
Important New Features!
★ Adapted for CinemaScope
★ Sound Blimp with Reflex Viewing
Now for the first time — a lightweight camera for CinemaScope photography — the
35mm Camerette with CinemaScope aperture, with full CinemaScope held visible
through the reflex viewer. Auxiliary turret and matte for regular photography.
New magnesium alloy blimp with viewing through the taking lens at all times through
the Camerette’s reflex finder, making a lightweight, fully blimped combination 16mm
or 35mm camera. Synchronous motors — 110-v single phase, 220- v three phase.
ONLY THE CAMERETTE HAS
W rite for descriptive literature
BENJAMIN BERG COMPANY
1410 N. VAN NESS AVE. • HOLLYWOOD 28, CALIF. • Hollywood 2-0871
Patents Coutant-Mathot
Manufactured by Eclair, Paris
Ability to use both 16mm and 35mm
him in one camera.
Reflex viewing through the taking
lens at all times for both him sizes.
Sound blimp with reflex viewing,
making a fully blimped, instantly
interchangeable 16mm or 35mm
camera.
need location
ighting . . . fast?
Call on Jack Frost , one of the
nation's largest suppliers of
temporary lighting facilities.
Wherever you are, whatever your
lighting needs, you can depend on
Jack Frost’s expert handling and com¬
plete range of equipment, from a
100 watt inkie to 225 amp arc with
mobile power plants. In the studio
too, we can supplement your present
equipment to meet any situation, any¬
where. We’ve been doing it for years
for many of the top shows.
Our service includes complete installa¬
tion and removal at one low cost.
free estimates
Write or wire for a free estimate and
a Free Catalog of Equipment.
JACK A. FROST
Dept. AMCI
234 Piquette Ave., Detroit 2, Michigan
425 Burnamthorpe Road, Toronto 18, Ontario
We’ve been doing some war-surplus buying lately,
and have these real bargains to offer.
11 Never used NATCO 16mm projectors . . .
2000 ft. capacity, and were designed for heavy duty.
The outfit comes in three cases, including a separate
12" speaker; separate, powerful amplifier, and the
projector itself . . . also, the NATCO has a unique
light system, utilizing a 100 watt-20 volt projection
lamp and an f 1 .2 lens for really fantastic image
brilliance. Worth over $500.00, we’re asking $275.00
each as long as they last.
35 EYEMO 12v motors, all are good and work,
none have cables, and a couple are missing con¬
nectors for cables. Only $45.00 each.
9 Single frame 35mm recording cameras . . . com¬
plete intermittent movement . . . “C” lens mount
. . . perfect for conversion to slide film cameras.
10-day money refund guarantee. $95.00 each.
3 AMPRO 16mm Imperial silent projectors, brand
new; 750 watt, fan-cooled, 2" f / 1.6 lens, superb
machine for screening rushes, etc., swing-out gate
for easy cleaning. List price $299.50; our price only
$199.50 each . . . includes handsome, luggage-type
carrying case.
* ¥ *
By the way, for you busy Xmas
shoppers, F&B’s new amateur movie
department carries a complete stock of
8mm and 16mm cameras, projectors,
slide projectors, tape recorders, and ac¬
cessories for your Xmas gifts. We can promise you
the lowest prices and fastest delivery on all these
items. Write us your w’ants and let us quote you by
return Airmail ... or better still, phone Art Florman
at Murrav Hill 2-2928.
F & B PRO CINE - THE MOST
improved tripod in the
MEDIUM WEIGHT CLASS
for all cameras
Does your tripod include these
exclusive PRO CINE features?
A. External camera tightening
knob with angle gears
B. Telescoping, offset tripod
handle.
C. Second tripod handle po¬
sition
D. Large positive pan and tilt
locks
E. Brass shaft for longer wear,
no sticking
F. Separate, precision machined
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G. Four bolted leg supports
with leg rest ledge
H. Aluminum leg tops — no
holes drilled thru wood legs
I. Single knob leg tightening
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guaranteed for five years
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Price $145.00
Heavy Duty Fibre Case $20.
Available direct or at
leading camera dealers
+ * ¥
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OF ENCORE I/4" magnetic recording
tape, plastic base, 1200 foot rolls on 7"
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Have you met Erwin Laster, our new
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of our machine shop and repair depart¬
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believe us, you can throw it away.
Erwin is responsible for the fine condition of the
rental equipment you have been receiving.
¥ ¥ ¥
A salute to Berndt-Bach for their
marvelous Auricon cameras, which, in
a few short years have become the
standard TV news camera. It is always
a pleasure to demonstrate and sell
Auricons, and we have sold a goodly number of
them thru the years, with never a single complaint
which was not speedily corrected . . .
AURICON ... a fine, precision camera.
BERNDT-BACH ... a cooperative, conscientious
organization.
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speed 1 200 per hour — also does negative and positive
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MODEL RA $2495 — Same basic features of Model
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WESTERN BRANCH — 6331 Hollywood Boulevard, Hollywood 28, California — Telephone: HOIlywood 7-9202
ARTHUR EDESON, A.S.C. — was Douglas
Fairbanks’ favorile cameraman.
HAL ROSSON, A.S.C. — Gloria Swanson
considered him the best in the business.
JOHN SEITZ, A.S.C — his photography
contributed to Valentino’s success.
LEE GARMES, A.S.C. — photographed
many of Von Sternberg’s productions.
CHARLES ROSHER, A.S.C. — filmed most
of Mary Pickford’s early-day silent films.
Five Veteran Cinematographers
Honored With ' George' Awards
Men who filmed the epics of the silent
days cited along with veteran directors,
actors and actresses at the George
Eastman House Festival of Film Artists.
Anew award for outstanding achieve¬
ment in motion pictures was in¬
augurated last month, when the George
Eastman House memorial to the late
George Eastman of Rochester. New'
York, presented “Georges” to twenty
well-known motion picture personalities
for their outstanding contribution to
motion pictures during the memorable
“silent’’ era of 1915-1925. Honored in
the award presentations were five cam¬
eramen. five directors, five actresses
and five actors.
The five cameramen are Arthur Ede-
son. A.S. C., Lee Garmes, A.S.C., Char¬
les Rosher, A.S.C., Hal Rosson, A.S.C..
and John Seitz, A.S.C. Arthur Edeson
was for many years Douglas Fairbanks
Sr.’s cameraman. He directed the pho¬
tography of such memorable Doug
Fairbanks’ thrillers as “The Three Mus¬
keteers,” “Robin Hood.” and “Thief of
Bagdad.” Lee Garmes photographed
many of Von Sternberg’s feature films
American Cinematographer
and is probably best remembered for
his outstanding black-and-white photog¬
raphy of “The Duchess and the Waiter.”
starring Adolph Menjou.
Charles Rosher, who came to Holly¬
wood from England, where he had won
wide renown as a photographer, became
Mary Pickford’s favorite cameraman.
Among the well-remembered Pickford
films he photographed were “Heart of
the Hills,” “Pollyana.” and “The Hood¬
lum.’’
Hal Rosson became famous during the
early twenties as Gloria Swanson's
favorite cameraman. Following the flat¬
tering photography Rosson gave his first
Swanson him, the famous and popular
Gloria never allowed another camera¬
man to photograph her until contractual
terminations sent Rosson to another stu¬
dio. Hal photographed Gloria Swanson
in such features as “Manhandled,”
"Zaza,” and “A Society Scandal.”
( Continued on Page 736 )
• December, 1955 • 705
SHOOTING a dance sequence on location at Boothbay Harbor,
Maine. Behind the 55mm CinemaScope camera mounted on a
crane at right is director of photography Charles G. Clarke, A.S.C.
ANOTHER VIEW of the same action. Here Clarke is lining up the
shot which involves girls dancing on roof of seaside inn. Clarke, in¬
cidentally, is first photographer to use 55mm camera on a feature.
CLOSEUP OR LONGSHOT, the new Twentieth Century-Fox 55mm
CinemaScope camera does a remarkable job first time out photo¬
graphing “Carousel” with great clarity, depth and definition.
ON SCENES like this, TCF’s 55mm CinemaScope camera produces an
excellent image with little or no distortion, straight horizontal lines,
and good definition to the extreme edges of the screen.
AND NOW 55MM
By CHARLES G. CLARKE, A.S.C.
It was a tremendous personal thrill
and at the same time a somewhat
cautious experience to he handed the
cinematographic assignment on 20th
Century-Fox’s “Carousel,” the first mo¬
tion picture to be filmed in 55mm
CinemaScope. Pioneering any new pro¬
cess discloses many new problems. When
you are told to “shoot” a multi-million
dollar production in a process that oidy
a few weeks before was the object of
drawing-board scrutiny, a few inner
qualms are understandable. It is a com¬
pliment to those of us of the photo¬
graphic branch that our studio execu¬
tives take it for granted that we will
carry an assignment through to success.
In the beginning it was decided to
him Carousel in both 55mm and the
standard 35mm CinemaScope. This
meant double set-ups for each shot.
When the results became available for
screening, our studio decided the 35mm
version was no longer required, and
thereafter we filmed the production only
in 55mm CinemaScope. We opened
Carousel on location at Boothbay
706
American Cinematographer
December. 1955
Harbor, Maine. The camera we used
was a conversion of the old Fox Film
Company’s 70mm “Grandeur” wide
screen camera developed some 25 years
before. The aperture and race plate
had been converted to 55mm. but many
other details, such as the magazines, still
retained the 70mm size. At first we en¬
countered the normal mechanical diffi¬
culties to be expected with a new pro¬
cess on a made-over camera. But day by
day we remedied these problems and
eventually production continued with
the smoothness associated with normal
35mm operation. Meanwhile, the labor¬
atory was overcoming its problems and
perfected its technique to the point
where 55mm pioneering is at an end
and the technique is definitely here to
stay.
From the inception of CinemaScope
by 20th Century-Fox in 1953 the studio,
under President Spyros Skouras, Vice
President in Charge of Production
Darryl F. Zanuck and Technical Super¬
visors Earl Sponable, A.s.c., and Sol
Halprin, A.S.C., has striven constantly
to improve the process. During the past
two years of film production at 20th
Century-Fox we have had the advantage
of the improved coupled CinemaScope
lenses which replaced the original at¬
tachment type anamorphic lens.
It was early realized that because of
the great magnification of the film on
today’s huge motion picture screens,
greater definition had to be obtained
somewhere. The theatres offering wide¬
screen projection, were, in effect, en¬
larging film beyond its normal resolu¬
tion power. A logical step was to start
with the negative. The film manufactur¬
ers have done about all that can be
immediately expected with modern color
films, so greater definition could only be
obtained by going to a larger negative
size. Hence, after experimenting with
various size film — 70mm, 65mm, etc. —
it was decided to increase the present
CinemaScope film by four diameters.
This promised that maximum quality
and sharpness could be obtained within
the realm of the photographic objectives
and portability of camera equipment.
At a cursory glance one would assume
that doubling the width of 35mm film
would result in 70mm film. A feature of
the basic CinemaScope system is the
narrower sprocket perforations, which,
being smaller, allows more film for the
picture image. These same perforation
dimensions are used in the camera in
this system, hence the result comes out
55mm.
At present, while 55mm projectors are
being designed, the only prints avail¬
able are taken from the 55mm negatives
and reduced to standard 35mm Cinema¬
Scope. These prints can be shown in any
theater equipped for the showing of
standard CinemaScope without any
modification necessary to projection
equipment. Even with these reduction
prints, the projected film is completely
free from grain, and the clarity, depth
and definition has been improved ap¬
proximately 50 per cent over standard
35mm CinemaScope. It is estimated that
when 55mm projectors are available, the
clarity, lack of distortion and definition
will increase another 25 per cent over
that of the “reduced” 35mm prints.
The new 55mm CinemaScope nega¬
tive is exactly four diameters greater in
size — twice the width and twice as high
— so that reductions are made without
altering the composition of the original
negative. Actually this is greater nega¬
tive area than afforded by some of the
other wide films now in use or pro¬
posed, for while they employ a 5 or 6
perforation pull-down, the 55mm also
has an 8-perforation or double frame
height. Anamorphic lenses create the
CinemaScope 1 to 2.50 ratio from the
conventional frame size.
The photographic lenses are doubled in
focal length over what is normally used
in 35mm CinemaScope. In filming
“Carousel” 1 used 75mm, 100mm, and
152mm coupled CinemaScope lenses.
The 100mm is considered the “normal'
lens, which was used for the majority
of scenes. We used the 152mm lens for
close shots and the 75mm when an ex¬
treme wide angle was required. This
naturally suggests a problem of depth
of focus, and after filming “Carousel"
under every possible type of condition
I found the following true:
When the principal points of interest
are sharp, such as the foreground actors,
it is not necessary — in fact it is an ad¬
vantage — that the background not be
pin-point sharp. This creates a quality
of roundness or stereoscopic effect that
makes the artists or foreground objects
stand out sharply from the background.
Not so many years ago we cinematog¬
raphers used to open our lenses and cut
down the shutter to obtain this same
effect. This is not to imply that there
is no depth in our 55mm CinemaScope
shots. Conversely, all who have seen the
first demonstration reels of “Carousel"
have commented favorably upon the re¬
markable depth. (Incidentally, 1 hear
that these demonstration reels will be
made available for screening by pro¬
ducers and exhibitors and others con¬
cerned, in the major cities of the
world.) The longer focal length lenses
normally permit a reduction of stop
which compensates to some extent for
the shallower depth. This has been borne
out in shooting studio interiors where I
have found I could stop down slightly
more at a a given light level.
It seems to be a characteristic of
CinemaScope lenses that they tend to
carry focus forward. As we learn this
by seeing the results on the screen —
whether in 35mm or 55mm Cinema¬
Scope — we drop the focus back of the
principal action so that the true focus
(Continued on Page 726)
CHARLES G. CLARKE, A.S.C., who directed the photography of 20th Century-Fox's “Carousel,”
is shown here with the studio’s prototype 55mm CinemaScope camera, which was used to
film the entire production. Using the camera was as simple as using a 35mm Cinema¬
Scope camera, according to Clarke.
American Cinematographer
December, 1955
707
THE CAMERA “ROLLS” ON a scene for Twentieth Century-Fox’s
“Rains of Ranchipur,” as the camera crew watches every detail
to insure a satisfactory take. From right to left are Milton Krasner,
A.S.C., director of photography; operator Paul Lockwood; first assist¬
ant Al Lebovitz (dark shirt); and Larry Prather, second assistant cam¬
eraman. Focused on scene is studio’s standard CinemaScope camera
A Day With A Camera
An observer’s account of a day spent with a camera and
crew shooting scenes for “Rains of Ranchipur”
at Twentieth Century-Fox studio.
This is a story of a day in the life of
a studio motion picture camera. A
Twentieth Century-Fox CinemaScope
camera. It hears the identification num¬
ber 15, and it recently completed the
filming of "Rains of Ranchipur” under
the direction of cinematographer Milton
Krasner, A.S.C.
I followed this camera and its crew
th rough an entire day’s work recently,
By ALLAN BALTER
starting at 7 :45 one morning morning
when I joined Milton Krasner, assist¬
ant cameraman Al Lebovitz and opera¬
tor Paul Lockwood. I stayed with the
camera and its crew the entire day as it
photographed scenes for “Rains of
Ranchipur,” right up until around 6:00
p.m. that evening. I learned a great
deal about feature film photography,
but most important, I was able to ob¬
serve first hand how the entire camera
crew functions as a team in the pro¬
duction of a picture.
Like so many of the people in this
industry who are not on what might
be called “intimate” terms with a pro- '
fessional motion picture camera, I had
always just sort of taken the big black
“Kodak” for granted. Most everyone
(Continued on Page 731)
708
Am eric an Cin em atocraph er
December, 1955
DIRECTOR of photography Milton Krasner, A.S.C., uses his
viewing glass to check the set lighting.
FIRST ASSISTANT cameraman Al Lebovitz makes certain the
aperture plate is clean before and after every shot.
MILTON KRASNER keeps an eye on set lighting progress as the
crane-mounted camera is being readied for the first shot.
AN INTELLIGENT and experienced gaffer is the cameraman’s best
friend. Here Krasner and Lang give lights final check.
OPERATOR Paul Lockwood handled the camera during the takes. IT’S A BIG set but the CnemaScope lens got it all
American Cinematographer • December, 1955 • 709
THE EFFECT of candlelight falling on the faces of two players is
successfully achieved here by Joseph LaShelle, A.S.C. Authenticity
of such an effect depends upon proper direction of light and the
right quality and volume.
Use Of Effect Lighting In
Commercial Film Production
By CHARLES LORING
D USINESS AND INDUSTRIAL films often
D require more attention to effect
lighting than is necessary in enter¬
tainment films in order to lend greater
visual impact to the product or service
such films aim to exploit. Effect light¬
ing, which might also he very properly
termed “atmospheric” lighting, • is ex¬
actly what the term implies: lighting
that creates a desired visual or atmo¬
spheric effect in the scene, such as night,
day, dusk, candlelight, etc. It is most
effectively demonstrated in the average
theatrical feature film, which affords the
aspiring industrial cinematographer his
best means of study of the subject.
The function of effect lighting in in¬
dustrial films is not to achieve results
that are tricky or consciously “arty,” but
to add realism and drama to the presen¬
tation of the idea, service or product
which the film portrays. Today, the
best industrial films show a sharp ten¬
dency to get away from the stereotyped
business film approach of yesterday.
The producers of these films are concen¬
trating with greater emphasis upon real¬
istic human interest situations against
which to showcase the client’s products
or service. To the production technician,
this means that sunlight coming through
a window in a scene must really look
like sunlight; that firelight from an open
fireplace must flicker realistically upon
the faces of players appearing in the
scene — perhaps toasting the client’s
marshmallows; and that when a table
lamp or floor lamp is shown as the source
of light in the scene, the players must
appear to be lighted by those same
lamps.
In developing true effect lighting, the
first rule that should be observed is that
such lighting must never call attention
to itself; it might be subtle. Even in the
more extreme cases, the lighting should
always be subordinated to the action in
such a way that it enhances or comple¬
ments it, but never overwhelms it.
Let us consider first the use of lamps
or other lighting units which appear in
the scene as apparent lighting sources —
units such as a chandelier, floor lamp or
table lamp. These are known as “prac¬
tical in the parlance of movie making
and they are included in this discussion
because they require more precise han¬
dling than off-stage units used for illu¬
mination.
A lamp or lighting unit actually ap¬
pearing in the scene as part of it must
give the illusion of being the source —
or part of it — by which the players and
the set itself is lighted. It must therefore
be brighter than anything which it il¬
luminates. In order to achieve this effect,
strong photoflood lamps replace the cus¬
tomary light bulbs and a sufficiently
dark lampshade is used so that the in¬
tense light from the photofloods will not
“burn up that area of the scene. Spot-
(Continued on Page 724)
THE CUKALORIS is an effective tool for achiev¬
ing certain lighting effects on walls, etc. The
“cookie" is used unusually close to wall here
only to show the lighting pattern obtained.
710
American Cinematographer
December, 1955
EASTMAN
PROFESSIONAL
MOTION PICTURE
FILMS
W. J. GERMAN, Inc.
John Street 6040 N. Pulaski Road 6677 Santa Monica Blvd.
Fort Lee, New Jersey Chicago 30, Illinois Hollywood 38, California
hand
rewi
nd
negative rewind set
differential rewind
power rewind
HO 2-3284
956 NO. SEWARD ST.
HOLLYWOOD 38
CALIFORNIA
synchronizer
vault cans
precision film editing equipment
HOLLYWOOD FILM COMPANY
split reels
swivel base
film racks
editing table
tightwind
film storage cabinet
at better dealers everywhere
New Portable
VistaVision Camera
»
New lightweight job affords
same flexibility in shooting
as when using an Eyemo or
Arriflex for standard 35mm.
The “hand-held” camera, so-called.
still is one of the important tools in
feature film production. It provides the
cameraman with a compact, lightweight
camera for use in locales where the
larger studio camera cannot be used,
on remote location exteriors where it is
almost impossible to bring in the larger
camera, or for making special closeup
shots as in fight scenes, boxing matches,
etc. In standard 35mm film production,
such cameras as the Eyemo, Arriflex,
Camerette, Fairchild, etc., are used.
When Paramount studio developed
and put into use the revolutionary newr
VistaVision camera, which has the neg¬
ative traveling horizontally instead of
vertically through the camera, it auto¬
matically created a need for a light,
hand-held version of the same camera
for production purposes. The studio’s
technical departments immediately set
to work on the problem, and they re¬
cently perfected a hand-held, double¬
frame VistaVision camera having the
ultimate in compactness and simplicity.
Its net weight with a loaded magazine
is but 171/0 pounds. The compact electric
motor is driven by 28 volts of D.C.
current, which may be supplied by
power pack, storage battery, or a con¬
venient ISi/o pound battery belt worn
by the camera operator. This battery
belt has a capacity that will operate the
(Continued on Page 728)
CAMERAMAN Till Gabbani (fop, right) is
shown operating the new hand-held Vista¬
Vision camera. Note rotary turret on front
of viewfinder. PHOTO AT LEFT shows door
on top of camera opened to reveal interior
which features central sprocket feed and
takeup.
PHOTOS ABOVE show ease with which new portable VistaVision magazine is only 1 7 y2 pounds. Camera motor is driven by power
camera may be used in any position. Net weight with loaded supplied by 28-volt battery belt worn by operator.
American Cinematographer
December, 1955
713
VIEW of some of the equipment carried in the special transport designed
by author for motion picture unit of the Douglas Aircraft Co., Inc.,
Santa Monica, Calif. Railing around top gives protection to cameramen
when shooting there; is collapsible.
ANOTHER VIEW of the inventory of equipment, each piece of which
fits snugly into its allotted space within the van. Here also may be
seen the smaller of the two van compartments, and the 700-pound
dolly with Mitchell camera mounted in place.
Movie Studio In A Truck
All the equipment necessary for full-scale film production
by Douglas Aircraft Company is transported to locations in
a specially designed mobile carrier that provides ready
accessibility to any item, be it camera, lamp or dolly.
Film production in the aviation in¬
dustry today demands the same
equipment and facilities that the major
studios have found important to speedy
and economical film making. This is
especially true because much of this him
production, which is documentary in
character, is done on location rather than
in a studio. Some examples of our recent
production work at Douglas Aircraft
Company in Santa Monica include a
documentary of the global flight of the
famed Douglas C-124's from Korea to
Germany, World Record Speed Run of
the F4D “Skyray” at Salton Sea, and the
recent 500 kilometer closed course World
Record Speed Run at Edwards Air Force
Base in October, 1955, by the Navy’s
Midget Attack Bomber, the A4D “Sky-
hawk/’ In addition, of course, there was
B y
FRANK J. ROH, JR.
Douglas Aircraft Company, Inc.
the usual motion picture assignments
that come to us daily such as recording
some new phase of aircraft production,
testing, engineering, first flights of new
craft, and aerial records of all planes
flown in test flights.
Long ago we recognized the need for
a suitable mobile unit that would enable
us to transport all the necessary produc¬
tion equipment for the type of work we
do, yet one that would be so planned
that almost every item equipment would
be readily accessible without the need
for unloading the carrier entirely. More¬
over, we required mechanical assistance
for loading and unloading such heavy
pieces of equipment as our 700-pound
camera dolly, heavy lighting units, etc.
Last but no least, the unit should provide
on the roof a shooting platform that
would permit us to photograph from
sufficient height in c-rder to properly
cover such action as plane takeoffs and
landings. So, we set about designing and
building just such a mobile unit. The
complete job is illustrated in the accom¬
panying photos.
The particular problems encountered
by the documentary motion picture unit
vary greatly with each set-up ; therefore,
taking this into consideration, and keep¬
ing the keynote of accessibility for all
the equipment as the most desirable fea¬
ture, the design of the truck was worked
out with some excellent help from Stand¬
ard Carriage Works of Los Angeles, who
had previously built many transport
units for the motion picture industry.
Standard Carriage was very interested
in our problems and worked closely with
714
American Cinematographer
December, 1955
INSIDE VIEW of van showing how each piece of equipment is secured
in place, arranged in orderly manner. At right is workbench for
making "on location” repairs to equipment. Unit is 1 1 ' 5" high; 8’
wide, 24 Vj' long and weighs 22,960 pounds when fully loaded.
us in designing a compact mobile unit
that would contain the following: a
shooting platform with collapsible rail¬
ing, a complete work shop, portable gen¬
erator to supply 110V power, film stor¬
age, etc.
Starting with a standard cab-over-en-
gine Ford truck, the chasis was length¬
ened 3'6", and the special box or van
body was then constructed. Each lamp,
stand, length of cable, etc., was carefully
measured in relation to the interior di¬
mensions of the truck body. Finally a
two-section body was deemed best, i.e., a
small forward section for storage of all
the stands, reflectors and the 115V aux¬
iliary power plant, while the rear, or
larger space would be used for the lamp
heads and camera equipment, work
bench, film storage etc.
The interior design was worked out
through careful study of the particular
needs of the company’s motion picture
unit in relation to location and the ac¬
cessibility, in that each single unit of
equipment had to be instantly remov¬
able whether it was the huge Mole-
Richardson lOK’s or the babies and
their Blue Comet booms, or one of the
skypans; so the design for the interior
started with the placement of the two
largest lamps, the lOK’s. It was decided
to place these as near the center of the
truck, fore and aft, as possible. They
were located up against the dividing wall
between the forward and aft sections.
The smaller lamps were hung on indi¬
vidual brackets on this forward wall.
Then the seniors were placed individual¬
ly on the floor along the left side of the
van opposite the work bench. The jun¬
iors were mounted individually above
the seniors, leaving room for mounting
two of the booms between them.
All-steel welded construction through¬
out makes this an ideal set-up as can be
ascertained from the accompanying pho¬
tographs, for each mounting is rigid and
becomes a part of the van with all the
lamps actually resting on rubber shock
mounts.
The camera dolly rests in the center
of the van and is held firmly in place.
The floor is reinforced with 14" steel
plate to prevent floor sag at this point.
Also, there is an Anthony hydraulic lift
gate at the rear to aid in loading and un¬
loading the camera dolly and other
heavy equipment ... a real work-saver.
Cable, as anyone knows who has ever
handled it, weighs considerable, and so
cable boxes were designed and construct¬
ed between the forward wheel base and
the rear wheel base, so that the bottom
of the boxes is only 18" off the ground.
This cuts the energy necessary for lifting
way down and greatly facilitates han¬
dling 1800 feet of 4/0 cable in 100 foot
lengths, plus plugging boxes and 500
foot “3-wires” by reducing the distance
from the ground to storage area and vice
versa.
An auxiliary power plant, the Onan
115V, 600-Watt portable generator unit,
was selected to supply power to run the
Mitchell “16” camera when necessary,
illumination for the interior of the truck,
and power to run drill motors or solder¬
ing irons, etc., for repair jobs. This port¬
able generator plant also supplies power
to the refrigerator unit and to the two-
way radio which is used for communica¬
tion to the flight tower, the planes on the
field and for emergency needs.
There is a collapsible steel safety rail¬
ing on the roof which protects the cam-
( Continued on Page 726)
TYPICAL OF locations encountered by Douglas Aircraft Company’s Film Unit is this
interior of one of company's assembly plants. Production truck enabled film makers to
transport all necessary equipment to location in one trip and set it up for use in a
minimum of time.
American Cinematographer
December, 1955
715
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Magnetic Recording
For Auricon Cameras
Now optional feature for new or
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IT was inevitable that sooner or later all the advantages
of magnetic recording would be incorporated into single¬
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which has been the standard until now. Recently there was
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European make which featured a coupled magnetic him
recorder. And now, Berndt-Bach, Inc., makers of the famous
line of Auricon motion picture sound cameras, has an¬
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a choice of high-fidelity optical or magnetic sound tracks.
Auricon Filmagnetic produces lip-synchronized “talking
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AURICON FILMAGNETIC twin-head sound recording-reproducing
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him producer, who now for the first time has his choice of
single-system magnetic or optical sound track with his pic¬
ture — on the same him at the same time.
The complete Filmagnetic outfit consists of a highly func¬
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htted into a handsome cowhide-leather carrying case, as
may he seen in photos above.
Perhaps Filmagnetic’s greatest attraction for the pro-
( Continued on Page 722)
American Cinematographer
December, 1955
717
Amateur
CINEMATOGRAPHY
Filmorama mounted before his Bolex H-16.
Filming With Filmorama
An amateur movie maker’s first experience
with the Bell & Howell “Filmorama” wide-screen
lens for 16-millimeter cameras.
By CLIFFORD
Thousands of amateur photographers
have made movies of San Francisco
over the years but few, if any, have
filmed it as did Tullio Pellegrini. His
version, “San Francisco,” was shot in
the Bell and Howell Filmorama 16mm
wide-screen process.
An indication of this San Franciscan’s
success with his first effort in the new
16mm wide-screen format was the en¬
thusiasm with which his picture was re¬
ceived by nearly 500 critical amateur
filmers at the recent “Filming for Fun
Fiesta" held recently in San Francisco.
•
HARRINGTON
Production of the 16mm color picture
with magnetic sound-on-film presented
more of a challenge than most amateur
movie makers have 'to face. Pellegrini
had to learn to plan his shots with the
wider dimension of the auxiliary wide¬
screen lens always in mind. In addition,
he had to choose subjects which would
be suitable for wide-screen treatment. In
many instances careful selection of cam¬
era angles turned otherwise common¬
place scenes into dramatic wide-screen
material.
The film is a picture tour which any
visitor to the city might make. After a
brief glimpse of several civic buildings,
we see such landmarks as Coit tower,
Fisherman’s Wharf, nearby Alcatraz
prison and Treasure Island.
Pellegrini introduces a bit of history
with a still photograph of the Panama-
Pacific Exposition held in 1915. A lap-
dissolve to a long shot of the same area
today shows the old Palace of Fine Arts
surrounded by row after row of houses
and apartment buildings. Also included
are wide-screen studies of such well-
known places as the Cliff House, Play-
land, Golden Gate Park, Fleishhacker
Park and Chinatown.
Pellegrini takes his viewers for a ride
on a cable car, and on a scenic trip by
auto down a street which has been de¬
scribed as the most crooked thorough¬
fare in the world. Within the length and
breadth of an average city block the
pavement makes eight hairpin turns
down a steep hill. The picture concludes
with shots of the Golden Gate bridge at
sunset, and night shots of world-famed
Market Street aglow with lights.
Through the skillful use of the Film¬
orama lens, plus extensive planning and
careful editing, Pellegrini has created a
smooth flowing, fastly paced picture. He
first prepared his script so that his con¬
tinuity would be worked out before he
started. Then he spent two months shoot¬
ing the film.
The picture is tightly knit. Pellegrini
used many lap-dissolves and bridging
shots taken from his moving automobile
to tie the scenes together. It is interest¬
ing to note that all his special effects
were made in the camera. He kept static
shots, such as those of the civic build¬
ings, at a minimum; these seldom last
more than three and one-half seconds
on the screen.
The picture is kept moving smoothly
by tying several scenes together with
transitional devices. For example, in a
sequence of quick glimpses of signs at
Fisherman’s Wharf the last shot is of a
sign shaped like a fish. He quickly fol¬
lows this with a shot of a real fish on
the counter of a sidewalk stand.
To shoot scenes from his moving car
while driving alone, he constructed a
special bracket for his camera. The
bracket attaches to the molding around
the windshield and is constructed from
scrap wood and strips of metal, as may
be seen in the accompanying photo¬
graph.
Of all the sequences, perhaps the most
difficult to photograph from the stand¬
point of wide-screen was that of China¬
town. Few shots that the average traveler
would make are suitable for the new
718
American Cinematographer
December, 1955
MUSIC AND sound effects were recorded on a master track of 16mm
striped film, prepared so that it synchronized with the picture. For
this, Pellegrini coupled two sound projectors together, using a
flexible cable, as shown above. Picture at right shows the inter¬
locking cable in closer detail. Previously, all sound for the film
had been recorded on a portabe, battery-driven recorder.
format, he found. Pellegrini mounted
the camera on its bracket within his
car and filmed the long establishing shot
of narrow Grant Avenue as he drove
along the street. By shooting from the
middle of the street he took advantage
of its maximum width.
Then he concentrated on closeups of
oriental architecture and sculpture.
Often he would tilt the camera to in¬
clude two or more objects in an inter¬
esting composition. One such shot con¬
trasted the oriental and occidental worlds
by showing simultaneously the cross on
a Chinese Catholic Church and the or¬
nate roof of an oriental building.
For one medium shot of a street scene
which he believed he ought to have, Pel¬
legrini was perplexed. The area that he
wanted to photograph was too narrow
for the wide-screen lens. He noticed,
however, that the shot he wanted was
reflected in a store window. By moving
his camera until he included this reflec¬
tion, he not only got the necessary width,
but also captured an unusual effect.
San Francisco’s zoo was an ideal sub¬
ject for wide-screen interpretation. Most
animals, Pellegrini observed are gener¬
ally longer than they are tall and thus
tend to fit the dimensions of the wide¬
screen picture.
Pellegrini coupled a telephoto lens
with his wide-screen lens to get unusual
full screen closeups of the animals. One
shot that is especially striking is of a
tiger pacing back and forth at the edge
of his grotto.
Filming San Francisco’s venerable
cable cars is an almost mandatory task
for every person who carries a camera
around the city. But few have succeeded
in obtaining such startling results as
Pellegrini did wilh the Filmorama wide¬
screen lens.
He made shots from the streets and
from inside one of the cable cars. These
brief shots were edited so that they
pick up in tempo. Finallv, he cut in
shots he had taken from his car. The
sequence gives viewers the impression
that they are at the front of a cable car
as it rumbles over San Francisco's pre¬
cipitous hills.
Most dramatic of all the sequences is
the ride down the crooked street. Pelle¬
grini first shows viewers a long shot of
the street to establish the locale of the
action. An automobile is shown negotiat¬
ing the dangerous curves. Then we are
taken inside his car for the hair-raising
ride down the hill. The sound of screech¬
ing tires enhances the pictorial effect.
To add to the thrilling aspects of the
ride, he shot this sequence at fourteen
frames per second. When the sequence is
projected at the normal twenty-four
frames per second, the speed of the car
is nearly doubled.
Pellegrini learned much from his in¬
itial use of the Filmorama lens. Panning
must be done more slowly, he found.
The widening of the picture amplifies
any camera movement. While panning,
the object being followed must not be
too close to the camera or a jerky
motion will result.
In his initial experiments with the
(Continued on Page 722)
MANY OF THE SHOTS made by Pellegrini for his production, “San Francisco,” were shot
from his car while driving. Camera, fitted with the Bell & Howell Filmorama wide-screen
lens, was mounted in the car on the special bracket shown here.
The Drama Of Color
The value of color In the motion picture, as in painting,
is two-fold. It functions both decoratively and expressively.
By NADINE PIZZO
Color as an ingredient in cinema¬
tography is a vast and complex sub¬
ject which can be discussed from many
angles, both technical and creative, here
I shall analyze the nature of color and
its uses from the dramatic point of view,
both because the average amateur is un¬
instructed and inexperienced in this
usage of color, and because the drama¬
tic handling of color represents one of
the highly creative facets of what is po¬
tentially one of the most expressive of
all art forms.
At this point it might be well to ask,
“What is color?" It is not, as so many
amateurs think, mere superficial bril¬
liance or prettiness, something that reg¬
isters with maximum brightness upon a
strip of Kodachrome. Color is emotion !
By means of our sense of hearing we are
capable of responding in infinitely var¬
ied emotional degrees to sound or music.
In the same manner, we are enabled to
experience the full range of emotion
through our capacity to see color. Colors,
individually, have emotional connota¬
tions, both general and specific. The
sensuous scope of color, when used in
color relationships, is multiplied a thou-
hand-fold. Compare the basic colors
NADINE PIZZO’S most recent achieve¬
ment: “The Fall of the House of
Usher,” in 1 6mm Kodachrome.
with the notes in the musical scale. Our
vast and varied musical literature is
proof of the expressive potential of those
few fundamental sounds. It is no exag¬
geration to assert that color provides us
with a similar potential for creative ex¬
pression.
The value of color in the motion pic¬
ture. as in painting, is twofold. It func¬
tions both decoratively and expressively.
While color in its decorative sense pro¬
vides superficial interest and eye-appeal,
it is only in its expressive aspect that it
becomes a significant instrument of in¬
terpretation. Color as mere surface dec¬
oration is definitely subsidiary to color
as an expressive ingredient. Only when
it is understood and utilized in this
deeper sense does color become one of
the fundamental elements in the cine¬
matographer’s art. The ultimate purpose
of the motion picture is to establish a
direct and sustained communication
with the audience. Color, because of its
emotional persuasiveness, is one of the
most powerful means for achieving this
aim.
My own particular background for
understanding the color demands of cin¬
ematography includes both easel paint¬
ing and designing for little theater. The
motion picture is akin to both of these
art forms. As a pictorial medium it must
observe many of the laws of painting;
as an essentially theatrical expression it
has much in common with the stage.
The dramatic usage of color in the mo¬
tion picture is quite similar to its use in
the theater. As upon the stage or on
the surface of a canvas, color in the mo¬
tion picture is derived from two sources:
the actual colors of the subjects and the
quality of the light that is trained upon
them. Any given hue will have one ef¬
fect if fully lighted, another when dram¬
atized by the type of illumination re¬
ferred to in painting circles as “chiaro¬
scuro.” This, literally translated, means
light-dark; and is eloquently demon¬
strated in the paintings of Rembrandt.
Still further variations may be achieved
by the use of colored gelatins over the
lights. We therefore have the two ele¬
ments that give us our final color result:
the basic color, which we arrange in ex¬
pressive relationships ; and the illumina¬
tion, which is the tool we manipulate to
produce our ultimate color magic.
The primary considerations in plan¬
ning the color scheme for any movie
are the subject and the predominant
( Continued on Page 729)
IN SETTINGS, whether they be outdoor locations or indoor sets, appropriateness must
always be the final criterion. In a landscape setting a place is selected that is suitable
for the action involved and having the proper color elements to support the mood of
the sequence, as in this dramatic scene from 20th Century-Fox’s “The Tall Men.
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YOU WON’T MISS AN ISSUE .
of American Cinematographer if you renew
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same — $ 3.00 ( U.S . and Canada) Foreign , $4.00
FILMING WITH FILMORAMA
(Continued from Page 719)
Filmorama lens, prior to starting his
picture, Pellegrini discovered that he
could successfully use a Zoomar lens with
it for some very dramatic pictorial ef¬
fects. Otherwise, he used 1, 2, 4 and 6
inch lenses interchangeably with the
Filmorama lens mounted before his Ft- 16
Bolex.
While using the Filmorama lens, no
light must be allowed to fall between
the primary lens and the Filmorama,
otherwise reflections of light will ap¬
pear in the finished film. Pellegrini no¬
ticed, however, that he could point the
Filmorama lens almost directly into the
sun and no lens flare would result.
According to Pellegrini, when focus¬
ing the lens for wide-screen photog¬
raphy the primary or camera lens
should be adjusted first on a ground
glass viewer. Then the Filmorama lens
should be moved into position and
focused. If this procedure is not fol¬
lowed a false focus is obtained and the
dispersion of light rays distorts the
colors.
Pellegrini used a rackover attachment
while focusing his primary lens. The
camera was moved into its normal posi¬
tion and the Filmorama lens moved flush
against the primary lens for shooting.
The film was exposed at one-half stop
over normal exposure to compensate for
the loss of light induced by the auxiliary
lens. This overexposure also overcame
the problem of additional loss of light in
projection, he said.
Pellegrini is enthusiastic about 16mm
wide-screen photography. “It gives view¬
ers an intimate picture of things which
a regular lens alone cannot do,” he said.
“The wide-angle lens, for example, gives
the effect of moving the viewer away
from a scene. Also, there is a rapid di¬
minishing of perspective.
“On the other hand, a telephoto lens
brings the viewer close to a scene, but
provides a limited area of coverage.
With the Filmorama lens a photographer
can use his regular one-inch lens and get
the advantage of proper perspective and
wide coverage.”
The film’s sound track was entirely
post-recorded. “The actual street noise
sound was first recorded with a portable,
battery-driven tape recorder to match all
the scenes as edited,” Pellegrini said,
“then a master track matched to the pic¬
ture was re-recorded from the tape on a
clear, striped roll of film — then from
this film onto the 20-minute sound-
striped picture film. The film was di¬
vided into four parts: one contained the
four different sequences with the actual
sound spliced one after the other, as with
the master sound track, and included
Playland, the ride on the miniature
train, the cable car sequence, and the
auto ride down the twisting hillside
street with tires screetching at every
turn.
“Later, these scenes were re-spliced
into their respective places in the film
with a loss of hut one second of sound
after each splice. As I was making the
final recording, I made sure that no
sound was recorded on the first 26
frames of each sequence. In other words,
I delayed raising the volume until the
first scene was on the head of the re¬
corder unit.
“I consider the sound of the screech¬
ing tires the biggest accomplishment of
the picture. As assistant held a micro¬
phone outside the car window to cap¬
ture the continuous squeal of the tires
as I drove down the curved street. This
sequence was photographed at 14 f.p.s.
for projection at 24 f.p.s. The sound, of
course was recorded without any alter¬
ation of tape speed. With some discrep¬
ancy between the tape and film speeds
posing a problem, I solved this by mak¬
ing a timed loop of the sound tape and
recording it eight times on the master
track. In the final recording, the sound
for each turn of the car on the street
was varied in tone and volume by means
of the recorder and playback controls.”
Following the photography of his first
picture with Filmorama, Pellegrini has
no illusions about making wide-screen
16mm pictures. “Amateurs using an
anamorphic lens such as Filmorama for
the first time,” he says, “must face new
concepts in cinematography and be pre¬
pared to film with greater care, if de¬
sirable results are to be achieved. Film¬
ing ‘San Francisco’ taught me a lot
about the very things which Hollywood
cameramen have had to face when shoot¬
ing CinemaScope for the first time. But
it was a most satisfying adventure.”
MAGNETIC RECORDING FOR
AURICON CAMERAS
(Continued from Page 717)
fessional 16mm film producer is that it
drastically reduces the weight and com¬
plexity of equipment needed while shoot¬
ing a sound picture. It eliminates the
need for a clap-stick sync-mark at the
start of each scene — being single-system
and therefore already synchronized —
yet Filmagnetic provides flexibility of
editing, because the magnetic sound¬
track allows high-fidelity re-recording of
single-system into double-system for easy
editing of only those scenes which are
to be used in the final picture. Already
existing 16mm record-reproduce mag¬
netic equipment can be used for this
purpose, feeding the Filmagnetic signal
from one to the other 16mm magnetic
722
American Cinematographer
December, 1955
Price— $350
Counter additional $100
(JnmcRfl €ouipm€iiT (o.
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Film Editing Made Easy
with NEW
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film viewer
for 16mm film
Every film editor will appreciate a
viewer that enables him to view
his film from left to right — on a large,
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The Professional Film Viewer
makes film editing a breeze. Easy
threading, portable, will not
scratch film. Put this viewer between
your rewinders and speed up your
editing. Size of Viewing Screen 6"x 4".
recorder, or from a magnetic to an
optical 16mm sound-on-film recorder
such as the Auricon RT-80 or RM-30.
In the production of 16mm motion
pictures, the Auricon Filmagnetic pro¬
vides all the well-known advantages of
magnetic recording, with instant ear¬
phone monitoring of the actual “just
recorded” Filmagnetic sound track in¬
side the Auricon camera. Only l/50th
of a second delay occurs between the
sound being picked up by the micro¬
phone and the same sound being re¬
produced from the Filmagnetic sound¬
track through the monitoring head¬
phones. This means that with Filmagnetic
you can be sure that the sound you hear
in the monitor earphones is already
recorded on the Filmagnetic sound-track
inside the Auricon Camera. A selector
switch on the Filmagnetic Amplifier
Model MA-10, also allows monitoring
directly from the microphone during
rehearsals when the camera is not run¬
ning and there is no Filmagnetic sound¬
track to “listen-in” on.
Filmagnetic eliminates the need for
exacting and critical sound-track gamma
and density control during film-lab de¬
velopment. Consequently, film processing
can be adjusted for best original picture
results without regard to the magnetic
sound-track, because the sound-track is
not affected by the picture processing
procedures. ( Continued on Next Page)
Model 35-16C
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American Cinematographer
December, 1955
723
^}or Cj reciter f~^rofitA
IN YOUR FILM PRODUCTIONS
Use CINEKAD Motion Picture
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Some of the many new CINEKAD
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• Sync Motor Drive for 16/35mm cam¬
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• Blimp, Hi-hat and Lens Extension Tubes
for the Arriflex camera
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• Roof-top tripod clamp
• TV Metal Tripod with hand-operated
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Either “camera-original" film with
lip-synchronized Filmagnetic sound, or
a Filmagnetic print can be shown on
any 16mm magnetic sound projector
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re-recorded from the Filmagnetic “cam-
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The Filmagnetic twin-head unit for
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For twenty-five years this company
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equipment described here is the result
of years of design and engineering work
following the advent of magnetic re¬
cording. Berndt-Bach’s potent new idea
may revolutionize the 16mm film indus¬
try, and will certainly have far-reaching
significance in the field of TV color
newsreels and commercial films, as well
as industrial motion pictures.
EFFECT LIGHTING
(Continued from Page 710)
lights used for actual illumination out¬
side camera range must be so placed as
to give both the quality and direction of
light that would normally be given off
by the prop lamp unit shown in the
scene. Also, such spotlights should be
located in such a way that the closer the
players approach the prop lamp, the
more brightly illuminated they will ap¬
pear. An excellent example of such light¬
ing appears in the accompanying photo
from the production, “Not As A
Stranger,” featuring Alivia De Havilland
and Robert Mitchum, photographed by
Frank Planer, A.S.C.
Within the realm of effect lighting we
must also consider a style of set illu¬
mination known as “area lighting." As
the name implies, this is the type of
lighting setup in which only selected
areas or plans of the set are illuminated
— the rest of the set being allowed to fall
off into darkness. This style of lighting,
of course, is more widely used in the
photoplay than in commercial films; but
it often has logical application in se¬
quences that demand unusual mood or
harsh realism. The important thing to
remember is that the light falling on the
illuminated areas should appear logically
coming from some practical source. Ex¬
amples are moonlight coming through
a window, lamps appearantly situated
in an adjoining room and casting their
light through a door or hallway, etc.
Projected shadows create effect in
lighting which can be a great boon to
the industrial cameraman, since they
not only add greater realism to the scene,
but can sometimes be used to simulate
the atmosphere of large or unusual set¬
tings. For example, suppose the script
calls for a typical office setting. The set
is dressed with appropriate furniture and
props authentic in every detail, but
somehow the illusion of a real office is
still lacking. To give the scene the
needed touch of authenticity, the cam¬
eraman can set up a large Venetian blind
just out of camera range and project the
beam of a junior or senior spotlight
through the slats, casting a shadow on
the wall. Properly done, the result is that
of sunlight coming through a distant
window protected by a half-closed vene-
tion blind. Often a cleverly executed
shadow pattern can create the illusion of
a whole set. For example, a church can
be suggested by projecting the pattern
of a Gothic window (cut out of card¬
board) onto a bare wall in the back¬
ground. Similar illusions can be worked
out by employing cutouts of window
frames, prison bars, grillwork, etc. To¬
day’s industrial cinematographers are
finding more and more need for such
lighting applications.
Sunlight and moonlight effects require
special setups which are considered rou¬
tine in the major studios, but which may
at first seem tricky to the industrial cine¬
matographer. Sunlight has a relatively
harsh quality when compared to interior
lighting, so it is best simulated by direct¬
ing the beam of an arc lamp through a
window or doorway of the set. Where
arc equipment is not available, a senior
or a junior spotlight can often be used
with quite satisfactory results. If the
production is being photographed in
color, use of a straw-colored filter over
the light source is recommended to give
the artificial light the warm tone of sun-
light.
The same lighting units recommended
above for sunlight effects are also prac¬
tical for producing moonlight effects,
except that they are generally toned
down by means of diffusers, and the
general key of the lighting is much low¬
er. Where a moonlight scene is being
shot in color, a very light blue gelatin
filter should be placed before the source
light.
Candlelight, lamplight and firelight
effects are frequently called for in many
724
American Cinematographer
December, 1955
SOUND PRINTING
HEAD
Converts Model “J” or “D” into
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ID
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CONTACT SOUND
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faster printing speeds.
permitting
The following three models
are available
• For printing 16mm negative to 16mm
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• For printing 35mm negative to 35mm
positive.
• Print both sound and picture from sep¬
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conversion.
For printing 16mm negative to 32mm
positive.
• Printing speeds up to 120 feet per
minute.
• Torque motor film take-up.
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of Motion Picture
Printing Equipment
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Mfrs. of Optical and Continuous Printers and Accessories.
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for prices
and complete
literature.
of today’s industrial films, and they, too,
require special setups. The chief rule to
follow in creating these lighting effects
is simulate the source. In other words,
place the set lighting units so that their
light will fall on your subject in the
same way that it would if actually com¬
ing from the source of light being simu¬
lated. Here your best guide is to study
the genuine article — sunlight, candle¬
light, moonlight, etc., and then attempt
to duplicate it by artificial means.
Candlelight is a soft, even glow that
emanates from a central source. In or¬
der to duplicate this glow in lighting
several people seated around a table, for
example, use several Baby Keg-lites or
Dinky Inkies (one for each person and
one directly over the candle) so that
each person will be evenly lighted —
with that light appearing to come from
the candle itself. Slight diffusion over
the light units will enhance the realism
of the effect.
Lamplight effects are accomplished in
a similar way, except that the key light
is usually somewhat higher and the
shadows more pronounced — accom¬
plished with the use of stronger lighting
units and less diffusion. Whenever can¬
dlelight or lamplight scenes are shot in
color, straw-colored gelatins should be
used in front of the lighting units.
The use of colored light in industrial
color film productions was once a high-
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FRANK C. ZUCKER
(jRmcRfl Couipmem (6.
Dept. A- 1 2-1 9* 1600 Broadway • New York City
American Cinematocrapher
December, 1955
e
725
C1NEKAD
JUNIOR TRIPOD DOLLY
This collapsible three-wheel tripod dolly is
especially designed to meet the demand
for convenient mobility of cameras on loca¬
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Dolly can be used with any professional or
semi-pro tripod.
The tripod is fastened firmly to the dolly
by a clamp at each leg tip.
The special individual caster locking system
makes it possible to lock either two or
three wheels in a parallel position, enabling
the dolly to track in a straight line for
rolling dolly shots.
Dolly folds quickly into a single compact,
easy-to-carry unit, 23 inches in length,
weighing 14 lbs.
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DESIGNERS AND MANUFACTURERS OF
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Box 4425
Washington 17, D. C.
ly debatable subject. Purists maintained
that it was illegitimate, and consciously
arty device; but more and more indus¬
trial cinematographers are now accept¬
ing the view that colored light, properly
used in a color production, has a definite
place in some types of business and in¬
dustrial films.
So many industrial and technical sub¬
jects lack color that it often becomes a
struggle for the cinematographer to add
visual interest to his compositions. Ma¬
chinery is usually drab gray or black
and industrial workshops or laboratories
are traditionally painted in the dullest
possible colors. Many cameramen, there¬
fore, solve this problem by placing col¬
ored gelatins in front of the set lighting
units used to illuminate backgrounds. In
such instances, it is not recommended
that the key light be tinted (unless there
is some specific reason for it), but the
side-light, top-light and back-light suit¬
ably tinted will add much even to scenes
which include people. In such instances,
one should be careful not to permit col¬
ored light to dominate the flesh tones.
A single shaft of colored light falling
across a background can often dramatize
a scene that would be completely color¬
less otherwise. The photographic purists
will ask, quite logically, “From what
source is that colored light coming?
But the audience will rarely, if ever,
ask such questions. It will be more con¬
scious of the fact that the scene has a
certain verve, plus the ability to hold in¬
terest.
Gone are the days when the photog¬
rapher of business and industrial films
could get by with commonplace set illu¬
mination. Today, he must be able to give
his productions lighting that not only
makes the scene photographically feas¬
ible, but which adds to the impact of the
screen presentation, holds interest of
the audience, and thus contributes to
selling the idea which the client wishes
to get across.
AND NOW 55MM
( Continued from Page 707)
plane is more properly distributed.
Fortunately, and somewhat surpris¬
ingly, filming in 55mm CinemaScope
did not, to any great extent, add to pro¬
duction operations. As I stated earlier,
during the first few weeks of filming we
would alternate with first the 35mm
camera and then with the 55mm, using
the same set-up for each where the
angle of view was the same. We found
that the 55mm carried definition better
to the sides of the screen, and that there
was less distortion. Our location work
was a good test for this as most of the
scenes were seascapes where the straight
line of the horizon could have con¬
founded us with objectionable curving
effects.
•
The camera and blimp weighed about
the same as the Technicolor camera and
blimp. Thus we were able to use the
same velocilators, tripods and crane ap¬
paratus that have been evolved for Tech¬
nicolor productions.
In the matter of lighting, for night
interiors I used a 900 foot-candle key
at f/4.8, and the same stop with a light
level of 1000 foot-candles for day in¬
teriors. I did not deem it necessary to
use a higher lighting level, for at f/4.8
all the depth desirable was obtained,
plus a measure of the plastic effect of
3D. The exposures stated above pro¬
duced a negative on the fully-exposed
side. This was desirable in order to ob¬
tain necessary quality in the reduction
prints made therefrom. As any type of
optical prints seems to add contrast, I
found that more fill light was required
than for conventional (non-Cinema-
Sc.ope) prints.
In the future still newer cameras will
probably be developed, but the optical
problems will remain for the Cinema¬
tographer to take in stride. The greater
brilliance, lack of distortion and better
definition that is inherent in the new
55mm CinemaScope will give an im¬
proved new “look” to our productions
and therefore bring greater enjoyment
to theater patrons everywhere.
STUDIO IN A TRUCK
(Continued from Page 715 )
eraman when working there, and is a
decided advantage when photographing
planes landing and taking off along run¬
ways. Moreover, the railings are so con¬
structed as to take lamps which may be
clamped to the handrails. The roof is
additionally reinforced to support crew
and camera and lights. The over-all di¬
mensions of the truck, (cab and van),
are, height: 11'5"; width: 8'; length.
24' 8" and the total weight loaded is
22,960 lbs.
To aid in stabilizing the truck dur¬
ing actual shooting from the roof, two
jacks are provided for use under each
front corner of the van body. The lift
gate is lowered to the ground and addi¬
tional pressure is applied to relieve the
overload on the springs at the rear.
The accompanying photographs also
illustrate the tremendous amount of di¬
versified equipment which is contained
in this single unit, such as a tape record¬
er, a transmitting and receiving radio,
collapsible chairs, two bunks which can
be slung from the overhead, complete
shadow control for the lamps ranging
from dots, Hags, cutters, and goosenecks
to a butterfly, a bozooka, and last, but
not least, a few trombones!
Power to operate lights for photogra¬
phy is supplied by a 600-ampere Mole-
726
American Cinematographer
December, 1955
PRECISION SOUND READERS
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6x6x7 '/2 inches.
AMPLIFIER: 117 volt — 60 cycle — AC . . . power
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All Prices F. O. B. Factory, Brooklyn, New York
It is your guarantee
of the finest in sound
editing instruments.
OPTICAL-MAGNETIC
Model 800 16mm, 35mm & V4 inch
NET PRICE $259.50
Write for Literature
PRECISION LABORATORIES
1130 UTICA AVENUE • BROOKLYN 3, NEW YORK
OPTICAL
Model 600 . . 16mm and 35mm
NET PRICE $185.00
MAGNETIC
Model 700 - 16mm, 17.5mm, 35mm
and y4 inch
NET PRICE $198.00
Richardson generator mounted on a sep¬
arate truck which operates in conjunc¬
tion \ ith the main unit.
In order that the fullest possible use
can be derived from this unique combi¬
nation unit, both the truck and genera¬
tor are enrolled in the plant protection
emergency set-up which, in turn, cooper¬
ates with the Civil Defense agencies in
the area. In the event of a power failure,
this portable rig is on stand-by status,
and only requires a short time to set up
anywhere and provide lights, and of
course, has a fairly complete main¬
tenance unit which is capable of han¬
dling a lot of emergency repair.
The van has more than proved its
worth by hauling all the equipment nec¬
essary to obtain motion picture cover¬
age, whether it is indoors in one of the
many plants located throughout the
country from California to Oklohoma, or
on location out in the desert at Holloman
Air Force Base, New Mexico.
Perhaps this is the shape of things to
come in the motion picture industry also:
to provide everything in a single unit
such as this truck for location shooting;
compactly, efficiently, and with little or
no breakage, because everything has its
own place, in lieu of dumping the whole
works into a huge truck and digging into
it on arrival at location and finding one
10K stand missing, or no spiders be¬
cause ‘‘Joe forgot ’em.” end
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American Cinematocrapher
Decemijer, 1955
727
Now! A 400ft. Magazine
For Your BOLEX H-16
Includes
Installation
and
Case
Permits continuous 400 ft. run of 16mm film —
the 200 ft. daylight loading spool may be used
in the 400 ft. magazine. The 100 ft. spool can
be used in the camera without removing ex¬
ternal magazine. Fully guaranteed. Can YOU
shoot a continuous wrestling match, prizefight or
football game? If not write for complete in¬
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Ask about our Rack-Over
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TOLEDO CINE ENGINEERING
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V T W W W 9” W W V T'T W W W,
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NEW VISTAVISION CAMERA
(Continued, from Page 713)
camera for a period of five hours.
As wilh the studio model VistaVision
camera, regular 35mm negative — black-
and-white or color — is used. As with
the studio camera, the film travels hori¬
zontally from right to left past the gate,
as viewed from the rear. The “pull-
across” movement, comparable to the
pull-down movement in standard 35mm
cameras, is eight sprocket holes or two
full frames. Aperture size is 1.481" by
.991 inches.
The movement, pictured here, is of
the Mitchell type and is made by
Mitchell Camera Corp.; registration pins
are on either side of the film and en¬
gage the first sprocket holes of the film
beyond the frame line, in the direction
of the film “pull-across” mechanism. The
camera is noted for the same steadiness
of picture that is an inherent feature in
the studio VistaVision camera.
As may be seen in the photo on page
713, access to the camera movement is
had by opening the top door. Only one
central sprocket wheel — a feature of
most 16mm cine cameras — is employed
for both feeding and taking up the film
through the camera. A salient feature is
the stripper-buckle switch assembly
which operates on both the feed and
takeup film areas simultaneously. The
switch mechanism is so sensitive that it
will function and automatically stop the
camera motor when the end of the roll
of film comes through — stopping the
film before the end reaches the aperture
plate and thus preventing any possible
damage to the aperture plate. The
huckle-trip reset switch is conveniently
located on the back of the camera.
Paramount engineers incorporated
into the design of this camera still an¬
other important feature, which permits
quick inspection of the gearing, shutter
or film movement in case trouble de¬
velops. By removing only three screws,
the movement and its coupled drive
motor can be lifted from the camera
case intact. A compactly integrated unit,
it can be switched on and operated on
the workbench, the same as if it were in
its case. Paramount claims complete re¬
moval and inspection of the camera
mechanism and remounting in the case
can be accomplished in only 15 to 20
minutes.
Film magazines, which are readily
detachable, weigh less than 4 pounds
without film load, and approximately
6 pounds when fully loaded with 400
feet of negative. Cast magnesium is used
in their construction, which is the same
material used for the camera case. Take-
up is by belt from the film sprocket
drive shaft. To prevent clothing of the
operator from becoming fouled, the belt
8 and 16mm
SERVICES
pulley is protected by a cover plate.
Other features of the magazines include
free-running upper and lower flanges,
which insure smooth film travel no mat¬
ter at what angle the camera is turned.
Although the fixed type shutter, when
fully open is technically rated at 162^2°
it has an effective opening of 170°.
Lenses used with this camera are
essentially the same as those used with
the studio VistaVision cameras and in¬
clude 28, 35, 50, 85, and 152 millimeter
focal lengths. In addition, but not car¬
ried as standard equipment are 40mm,
100mm and special 120mm lenses which
the studio supplies for special assign¬
ments. As with all hand-held cameras,
all lenses are focused manually.
The finder, which features manual
adjustment for parallax, is located on
top of the camera, same as with the
studio camera. It is 21/2 inches directly
above the axis of the camera lens. There
is a separate finder lens which matches
the field of the various available taking
lenses described above, with mattes for
each lens of essentially the same size.
The noise level of the camera is said
to be very low and this has made the
camera especially ideal for all types of
outdoor assignments. This reduction of
noise has been accomplished through
the use of phenolic gears, by reducing
film loop slap, and in the design of the
case which has been curved to reduce
resonance. Finally, there was eliminated
the multiple stages of gearing in the
mechanism that features the design of
many other portable cameras.
The motor that is provided for normal
28-volt service is lightweight and gov¬
ernor controlled. It weighs just under
two pounds and draws but 2.6 amperes
at 4500 RPM when operating the cam¬
era at the normal 24 f.p.s. speed. Control
of the f.p.s. speed is accomplished by
controlling the voltage supply through
a switch mounted on the motor, and
the desired speed is determined by ob¬
serving dial of the precision electric
tachometer mounted on top of the cam¬
era. This is calibrated from 12 to 24
f.p.s. and is operated by a 7J/$> volt
generator driven directly by the shutter
shaft. Presently in the works is a series
compound motor for this camera which
is rated as 96-volts, and having the same
torque as the present 28-volt motor. The
new motor is designed to permit opera¬
tion of the camera from conventional
power sources.
The new VistaVision camera was put
to practical use on the recent Alps lo¬
cation for Paramount’s “The Mountain,”
with Frank Planer as director of pho¬
tography. Handling the camera a great
deal of the time on this location assign¬
ment was cinematographer Till Gabbani,
who appears in the accompanying pho¬
tos demonstrating it.
728
American Cinematographer
December, 1955
A
$12,000
Value
SPECIAL
$5,750
I
SAVE OVER %
on this
TEAGUE MOTION PICTURE
BACKGROUND PROJECTOR
Ideal for TV or motion picture pro¬
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Cable: GORDENT
New Cantilever Model
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Combination
REVERSAL
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a great value with unique features
Never before a 16mm negative-positive processor with such
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variable speeds up to 1,000 feet per hour. Tanks built of
heavy-gauge Stainless Steel, with 1,200 feet magazines,
feed-in elevator and filtered air supply to drybox. Many!
many other features for the operator who wants to “get
there first with the most and best quality film.”
Write for further details and literature.
Other models available from $1,129.00.
FRANK C. ZUCKER
(Jflm€Rfl Cc^uipmsiiT (o.
DEPT. A-12-22 1 600 BROADWAY, NEW YORK CITY
THE DRAMA OF COLOR
(Continued from Page 720)
mood of the picture. Into which general
category will the material fall? Is it a
comedy, a fantasy, a drama, or a trage¬
dy? In what manner is the subject to
be presented? Factual or fanciful, realis¬
tic or poetic? Will the mood we are
striving to realize be gay or melancholy,
brilliant or drab, light or heavy? And
finally, w'hat is the historical period of
our piece, and in what locale is it set?
Not until all these points are thorough¬
ly resolved in the mind of the producer
can the color problems be considered.
The color and Humiliation for a comedy
will be entirely different than that for a
tragedy. A factual point of view1 makes
far less demands on the imagination of
the colorist than a fanciful approach. A
gay mood will require high-keyed color,
while a melancholy mood will necessi¬
tate the use of color in a low key. The
historical period will greatly influence
color choices, for each era has specific
characteristics which should be under¬
stood and manipulated to give authenti¬
city to a period piece. The geographical
setting will likewise have its influence
on color selections. The colors used in a
Near Eastern locale will have a more
exotic “flavor” than those used, say, in
England in the same historical period.
We must key our color to the subject
and the mood of our picture, and sup¬
port the subject and intensify the mood
with our color.
Once we have determined the general
color mood appropriate to a given pro¬
duction, we are free to consider the de¬
tails of the two categories within which
we will be putting our color to use. The
two factors with which we are now con¬
cerned are settings and costumes. In
both departments we must reconcile the
general mood requirements of our pic¬
ture with certain specific requirements
of individual scenes and characters.
In settings, whether they be outdoor
locations or indoor sets, appropriateness
must always be our final criterion. In a
landscape setting, you not only select a
place that is suitable for the action in¬
volved, but also one with the proper col¬
or elements to support the mood of your
story and the emotional quality of the
particular scene. Moreover, you wait for
the type of weather that will best give
you your final color result. When film¬
ing indoors, the sets, whether selected or
constructed, and the various properties
that complete them must first be keyed
to the over-all mood, and then further
9
American Cinematographer
December, 1955
729
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Video Film Laboratories
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refined to meet the requirements of the
specific scene. The color quality of the
same set can be altered by illumination
to give various emotional effects. In ad¬
dition to this major consideration, the
sets must convey by means of color the
period involved, the character of the
specific interior and its function, and
even the time of day. It is literally true
that one picture is worth a thousand
words. A setting that may cost an author
many paragraphs to establish can be
stamped indelibly upon the mind of the
viewer in a few seconds of projected
film. The untold hours that may have
been involved to achieve the final result
do not show, but the ultimate impres¬
sion does. The visual impact of color is
immediate and powerful, and can com¬
municate in a flash any amount of in¬
formation or emotional meaning that
the producer may wish to put across.
With the costumes as with settings,
the color key of the over-all production
takes precedence, though not quite to the
same degree. When we enter the field of
costuming we are immediately dealing
with characters of widely divergent na¬
tures. The first general detail to consider
is the historical period involved and, of
course, the locale. As can easily be seen,
even a contemporary drama, if given a
foreign locale, will pose costume prob¬
lems. Even though the costumer may be
equipped with a good general knowl¬
edge of the history of dress, detailed re¬
search will be essential for the period
under consideration. A thorough check
on available reference material will re¬
veal pertinent color information on the
time and the place. You will soon dis¬
cover whether the colors should be pure
or pastel, muted or brilliant, varied or
limited, harmonious or clashing. When
you have these facts at your disposal
you will strain them through the mood
requirements of your vehicle and adjust
them to the personalities and the cir¬
cumstances of your characters.
We are now free to meet the demands
of specific characterization. To what so¬
cial level does a given character belong?
What are his material circumstances?
What are his mental and physical attri¬
butes? And, above all, what is his func¬
tion in the drama? All these factors will
determine the colors in which you dress
him. The next point to consider is his
dramatic development within his par¬
ticular mood frameword. Does he alter
his nature in relationship with other
characters, and does he have a particu¬
lar line of emotional progression
throughout the story? If so, what? In
which scenes is he dominant, and in
which is he subordinate? Is he in har¬
mony with his environment, represented
by the settings, or in opposition to it?
With what other character or characters
do you wish to contrast him, and in
what manner? The customer must trans¬
late all these factors into color — color
in the individual costume, and color in
the entire ensemble of costumes. As with
the production in its entirety, so with
specific costume; we must key the color
to the character and dramatize the char¬
acter with color.
Nothing would be more misleading
than to reduce the dramatic essence of
colors to pat generalities. No given color
is a fixed entity. Its nature is chamelion-
like in that it alters its character each
time it is brought into a new relation¬
ship. True, you may assert that cool
colors tend to recede, as warms tend to
advance. This, too, is relative. A blue
that might recede in one color harmony
could be electric in another. A red that
would throb with vitality in the com¬
pany of certain colors could become dull
and lifeless under other circumstances.
Let us consider for a moment two of the
primary colors in the pigment color
chart — red and blue, both in high favor
with users of Kodachrome. What are
their emotional connotations? This de¬
pends upon the value and hue that one
chooses, with what other colors it is
used, and how it is illuminated. Thus,
blue can take on connotations ranging
through peacefulness, purity, hostility,
gloom, airy joyousness, brooding trag¬
edy, etc. Red can be exultant or oppres¬
sive, festive or frought with horror, vi¬
brant or smoldering, mellow or harsh,
triumphant or tragic, beautiful or ugly,
and so on, ad infinitum. In this very
diversity, which makes generalities and
hard and fast rules impossible, lies the
excitement of working with color. Each
new assignment offers a fresh adventure.
Through experimentation, taste, and
dramatic sensibility this visual vocabu¬
lary can be manipulated to create whole
new worlds of color imagery and dram¬
atic expressiveness.
730
American Cinematographer
December, 1955
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A DAY WITH A CAMERA
(Continued from Page 708)
knows you cannot make movies without
a camera, but I had never gone much
further in my thinking about the matter
than that.
What I saw in just one typical work¬
ing day with a camera and its crew was
a revelation — artistry in lighting and
composition ; attention given to detail
that was more meticulous than I have
ever known ; and teamwork that func¬
tioned on split-second timing and hair¬
line accuracy. And with it all, I saw,
and was fortunate enough to be includ¬
ed in, an easy camaraderie among this
team that I feel is the reason they work
together in harmony the way they do.
The day began in Sol Halprin’s cam¬
era department. By 8:00 o’clock the
camera cart was loaded with camera
and film and hauled over to stage 16,
where shooting was to take place that
day. Once on stage, assistant Lebovitz
mounted the T.C.F. camera, minus mag¬
azine and lens, on the junior crane.
Once it was securely in place, the Cine-
maScope lens was mounted and checked.
For the scenes scheduled to be shot the
early part of the day, a 2-inch Cine¬
maScope lens was selected. According
to Milton Krasner, this lens is consid¬
ered the “workhorse of CinemaScope.”
Next, the finder was attached, and then
the film magaazine. Threading the film
in the camera was the next stop. Lebo¬
vitz checked the aperture plate — remov¬
ing it from the camera — to make cer¬
tain that it was absolutely clean. And
then the “barney” was slipped over the
film magazine. This is a heavily-padded
slip-on cover that acts as a blimp for
the magazine. The camera itself is not
blimped, and does not need one. This is
because the T.C.F. camera mechanism
is remarkably silent — an exclusive fea¬
ture. It is said to be the only motion
picture camera so constructed, and for
that reason is one of the easiest and
most convenient to use on the set or
on location.
And while I m dwelling on the re¬
markable features of this camera, I may
as well mention another: the ability to
“barrel” the magazine 90 degrees to
the right so that the cameraman or
operator can view the scene directly
through the taking lens.
While the camera crew was readying
the camera for action, director of
photography Krasner was busy “rough¬
ing in” the lighting of the set. I noted
that he lights from back to front in the
set and, like so many other fine camera¬
men, he lights in front of the camera.
That is, he uses a viewing glass and
his naked eye to gauge his lighting
rather than employing the camera finder
for this. I was told that the roughed-in
lighting would be finished by the time
that director Jean Negulesco arrived on
the set. Then the players would be
placed for the first shot, enabling
Krasner to go on to the finer details of
“face lighting.”
I was permitted to look through the
finder at this point and could see the
set coming alive as Krasner proceeded
with the lighting. It was a huge set
with a great many extras. As I looked
up from the finder, Krasner explained
the effects he was achieving through the
use of pink, white, amber and yellow
lights.
Director Negulesco arrived on the set
at 9 o’clock. The first lineup was in
progress. Krasner discussed the shot
with him. At this point the problem is
to find just the right angle and ap¬
proach that will render the best pic¬
torial effect and at the same time ad¬
vance the picture’s story line most ef¬
fectively.
The basic angle was quickly decided
and the camera moved in so that Kras-
( Continued on Page 733)
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American Cinematographer
December. 1955
731
UNIVERSAL-INTERNATIONAL
Feature and television film productions for which members of the American Society of
Cinematographers were engaged as Directors of Photography during the past month.
AMERICAN SOCIETY
OF CINEMATOGRAPHERS
FOUNDED January 8, 1919, The Ameri¬
can Society of Cinematographers is com¬
posed of the leading directors of photog¬
raphy in the Hollywood motion picture
studios. Its membership also includes non¬
resident cinematographers and cinematog¬
raphers in foreign lands. Membership is
by invitation only.
•
Arthur Miller, President
Sol Halprin, First Vice-President
William Skall, Second Vice-President
Alfred Gilks, Third Vice-President
Walter Strenge, Treasurer
Charles G. Clarke, Secretary
Robert de Grasse, Sergeant-At-Arms
BOARD OF GOVERNORS
Joseph Biroc
George Folsey
Burnett Guffey
Winton Hoch
Hal Mohr
Ray Rannahan
Leon Shamroy
Philip Tannura
ALLIED ARTISTS
• Ellsworth Fredericks, ‘‘The Friendly
Persuasion,” (Eastman Color, Wide-screen)
with Gary Cooper, Dorothy McGuire, Mar¬
jorie Main. William Wyler, producer-director.
• Wilfrid Cline, “The First Texan,” (Cine-
maScope) with Joel McCrea, Wallace Ford,
Carl Benton Reid, Jeff Morrow, Jody McCrea,
William Hopper, Scott Douglas. Byron Haskin,
director.
• Henry Freulich, “He Died Laughing,”
with Frankie Laine, Lucy Marlow, Richard
Long. Blake Edwards, director.
• Samuel Leavitt, “Crime In The Streets,”
with James Whitmore. John Cassavettes, et al.
Don Siegel, director.
• Harry Neumann, “Screaming Eagles,”
(Bischoff-Diamond Prod.) with Tom Tryon,
jan Merlin, Alvy Moore. Charles Haas, direc¬
tor.
• Wilfrid Cline, “Mother Sir,” with Joan
Bennett, Gary Merrill, Shirley Yamaguchi.
Edward Bernds, director.
COLUMBIA
• Charles Lang. “The Way We Are,”
(Wm. Goetz Prod.) with Joan Crawford, Cliff
Robertson, Vera Miles, Lorna Greene, and
Ruth Donnelly. Robert Aldrich, director.
• Burnett Guffey, “The Harder They Fall,”
with Humphrey Bogart, Rod Steiger, Mike
Lane, Joe Walcott, Carlos Montalban, Harold
Stone, Max Baer, Herbie Faye, Edward An¬
drews, Vinney DeCarlo. Mark Robson, direc¬
tor.
• Charles Lawton, “It Happened One
Night,” with June Allyson, Jack Lemmon,
Charles Bickford, Jim Backus. Dick Powell,
director.
METRO-GOLDWYN-MAYER
• Joseph Ruttenberg, “The Swan,” (East¬
man Color, CinemaScope) with Grace Kelly,
Alec Guiness, Louis Jourdan, Brian Ahern,
Agnes Moorhead. Charles Vidor, director.
• Russell Harlan, “Lust For Life,” (An-
sco Color, CinemaScope) with Kirk Douglas,
Anthony Quinn, Niall McGinness, Pamela
Brown. Vincente Minelli, director.
• Arthur Arling, “Fearful Decision,” (Wide
Screen) with Glenn Ford, Donna Reed, Leslie
Nielsen, Juano Hernandez. Alex Segal, direc¬
tor.
• Robert Surtees, “The Swan,” (Eastman
Color, CinemaScope) with Grace Kelly, Alec
Guiness, Louis Jourdan, Brian Ahern, Agnes
Morehead. Charles Vidor, director.
• Paul Vogel, “The Rack,” with Paul New¬
man, Walter Pidgeon, Wendell Corey, Ed¬
mond O’Brien. Arnold Laven, director.
PARAMOUNT
• Loyal Griggs, Wallace Kelley, Peverell
Marley, “The Ten Commandments,” (Vista-
Vision, Technicolor), with Charlton Heston,
Anne Baxter, Yul Brynner, et al. Cecil B. De
Mille, director.
• Franz Planer, “The Mountain,” (Techni¬
color, VistaVision) with Spencer Tracy, Rob¬
ert Wagner, Claire Trevor, Richard Arlen,
William Demarest. Producer-director, Edward
Dmytryk.
• Loyal Griggs, “That Certain Feeling,”
(Technicolor, VistaVision) with Bob Hope,
George Sanders, Eva Marie Saint, Pearl
Bailey, David Lewis and Al Capp. Producers-
directors, Norman Panama and Melvin Frank.
• Daniel Fapp, “Pardners,” (Technicolor,
VistaVision) with Dean Martin, Jerry Lewis,
and Lori Nelson. Norman Taurog, director.
TWENTIETH CENTURY-FOX
• Charles Clarke, “Carousel,” (Color; Cine¬
maScope) with Frank Sinatra, Shirley Jones,
Barbara Ruick, Cameron Mitchell, Claramae
Turner, Audrie Christie, Robert Rounseville.
Henry King, director.
• Leon Shamroy, “The King and I,” (Color,
CinemaScope) with Deborah Kerr, Yul Bryn¬
ner, Rita Moreno, Yuriko, Martin Benson.
Walter Lang, director.
© Leo Tover, “The Revolt of Mamie Stover,”
(Color, CinemaScope) with Jane Russell,
Richard Egan. Agnes Moorhead. Raoul Walsh,
director.
• Maury Gertsman, “Raw Edge,” (Techni¬
color) with Rory Calhoun, Yvonne De Carlo,
Rex Reason, Mara Corday, Neville Brand,
Herbert Rudley, Robert Wilkie. John Sher¬
wood, director.
• Irving Glassberg, “Cry Innocent,” with
Merle Oberon, Lex Barker, Abner Bieberman,
director.
• George Robinson, “Toy Tiger,” (Tech¬
nicolor) with Jeff Chandler, Larraine Day,
Tim Hovey. Jerry Hopper, director.
• Harold Lipstein, “Apache Agent,” (Tech¬
nicolor, CinemaScope) with Audie Murphy,
Pat Crowley. Jess Hibbs, director.
• Russell Metty, “Written on the Wind,”
(Technicolor) with Rock Hudson, Lauren
Bacall, Robert Stack. Douglas Silk, director.
WARNER BROTHERS
• J. Peveral Marley, “Serenade,” (Warner-
Color) with Mario Lanza, Joan Fontaine,
Sarita Montiel, and Vincent Price. Anthony
Mann, director.
• Hal Rosson, “The Bad Seed” with Nancy
Kelly, Patty McCormack, William Hopper,
Evelyn Varden, Mervyn LeRoy, producer-
director.
• Ted McCord, Tom Tutwiler. “The Spirit
of St. Louis,” starring Jimmy Stewart. Billy
Wilder, director.
• John Seitz, “Cry In The Night,” (Jaguar
Prod.) with Edmond 0 Brien, Natalie Wood,
Brian Donlevy, Richard Anderson, and Ray¬
mond Burr. Frank Tuttle, director.
INDEPENDENT
• Lionel Lindon, “Around The World In
80 Days,” (Michael Todd Prod., Todd- AO)
with David Niven, Cantinflas, Shirley Mac-
Laine, Robert Newton, Martine Carol, Noel
Coward, Finlay Currie, Fernandel, Sir John
Gielgud, Hermione Gingold, Cederic Hard-
wicke, Glynis Johns, Beatrice Lillie, A. E.
Matthews, John Mills Robert Morley, Ronald
Squires, Basil Sydney, Harcouut Williams,
Luis Dominguin, Buster Keaton. Michael An¬
derson, director.
• Charles Boyle, “The Great Locomotive
Chase,” (Technicolor, CinemaScope; Buena
Vista Productions) with Fess Parker, Jeff
Hunter, Jeff York, John Lupton, Stan Jones,
and Claude Jarman. Francis D. Lyon, director.
• Joseph Biroc, “Nightmare,” ( Pine-Thomas-
Shane Prods.) with Edward G. Robinson. Ke¬
vin McCarthy. Connie Russell. Maxwell Shane,
director.
• Lucien Ballard, “Bed of Fear,” ( Harris-
Kubrick Prod.) with Sterling Hayden, Co-
leen Gray, Marie Windsor. Stanley Kubrick,
director.
• Walter Strenge, “City of Women,” (Lor¬
raine Prod., Eastman Color, Wide Screen)
with Robert Hutton, Osa Massen, Mari Palm¬
er. Boris Petroff, producer-director.
• Joseph LaShelle, “Run For the Sun,”
(Russ-Field Corp., Color. Superscope) with
Richard Widmark, Jane Greer. Harry Tatle-
man, director.
• Ernest Laszlo, “Bandido,” (Bandido
Prods., Color, CinemaScope) with Robert
Mitchum, Ursula Theiss, Gilbert Roland.
Richard Fleischer, director.
• William Mellor, “Johnny Concho,” (Kent
Prods.) with Frank Sinatra, Phyllis Kirk,
Keenan Wynn. Don McGuire, director.
732
American Cinematographer
December, 1955
A DAY WITH A CAMERA
(Continued from Page 731)
ner and director Negulesco could make
the final lineup with the camera itself.
This done, the stand-ins were called to
take their places and the lighting was
given a final check. Once the set light¬
ing is completed, the head gaffer takes
a light reading which determines the
lens opening to be used. Sometimes this
light reading serves only as a starting
point. The cameraman may strive to im¬
part a particular mood to the scene, and
may accomplish this by setting his ex¬
posure above or below the established
light reading mark for the particular
film being used. In this case, however,
the exposure was to be as read on the
meter.
At this point, the camera crew ran a
test — that is, they exposed a short length
of film on the scene for the purpose of
checking condition of the film gate and
aperture plate. The aperture plate was
again examined and the camera pro¬
nounced readv.
Director Negulesco proceeded to make
a few last minute changes in the set
and Krasner made comparable changes
in his lighting to compensate for them.
The company was now readv for a prac¬
tice run over the whole shot. The assist¬
ant measured the distance, or “ran a
tape" as they say, from the camera to
the most important player on the set,
which enabled him to set focus of the
lens to achieve the desirable sharpness
and depth of field. Further check of the
camera’s readiness resulted in the crew
making a dry run, moving the dolly-
mounted camera as prescribed.
Dolly and crane operators are im¬
portant members of the team that makes
up the camera crew for shooting scenes
such as we were about to see photo¬
graphed. Rex Turnmire and Jack Rich¬
ter. who handled the boom, are consid¬
ered among the best in the business.
On dolly or crane shots, the camera
must never move before the action, nor
may it lag behind. Split-second timing
is necessary in making these moves
accurately and completely unobtrusive
when they appear on the screen. To
achieve this, Turnmire and Richter
worked in close cooperation with opera¬
tor Paul Lockwood, rehearsing the
movement until they had the pattern
down perfectly.
Watching the scene through the view¬
finder. Lockwood offered several sug¬
gestions about placement of extras in
the scene. Action is ready to begin.
Offstage a sound crew starts playing
a recording of cries and moans of in¬
jured and dying people to set the mood
for the players. The scene about to be
filmed is one that follows a flood and an
earthquake for “Rains of Ranchipur.”
An assistant holds a slate in front of
the camera as it is started, and this
puts the identifying data on the film
that indicates to the film editor what
scene and take it represents.
The director calls “Roll ’em,” and
photography begins. Lockwood is in
the operator's chair on the crane. Lebo-
vitz moves along side the camera,
changing focus as it moves in and out
according to pre-determined plan. The
shot is completed and Lebovitz makes
an immediate check of the camera’s
aperture plate. Its clean, and this
means the shot is okay “for camera.”
The director decides to make a second
take of the scene. After it is completed,
there is a discussion between Milton
Krasner, his operator, and director
Negulesco. It is suggested that if the
camera, in its boom action, ended up
a little higher it would be a more effec¬
tive shot of the people in the back¬
ground. The director agrees and a third
take is made that way. But before the
camera rolls, the assistant cameraman
has to reload the camera with film. Al¬
most 400 feet was used on the first two
takes.
Take three was made, but the opera¬
tor observed that the higher position of
the camera cast a shadow. So director
of photography Krasner ordered some
changes made in the light positions and
the scene was shot again — this time for
an acceptable take.
With the first scene “in the can,” the
company went right on to the next set¬
up. Krasner and director Negulesco
lined up the next shot, scheduled to be
made right after lunch, and the elec¬
tricians set to work with their lighting.
The exposed magazine of film, mean¬
time, was sent out to the loading room.
The camera crew walked through the
next shot with the director, and the
Boor positions were marked for the
actors. This done, the company went to
the commissary for lunch.
When they returned to the set 45
minutes later, they found operator Paul
Lockwood on the camera crane fishing
for the right frame and lineup on what
was going to be a difficult shot. The
camera crew had to move from a medi¬
um close shot in the first position to a
low two shot, up to an eye-level two
shot, in for a close shot, and then pan
with the principals exiting from the
scene. This would involve no fewer than
five focus changes and five different
stops for the boom and crane operators.
Here is where the skill of the assistant
and the operator counts the most. The
focus changes are the assistant’s respon¬
sibility; the operator must keep the ac¬
tion always nicely framed; and the two
grips who operate the camera crane
must make the moves precisely and per¬
fectly coordinated with the movements
of the actors.
Director of photography Krasner, of
course, oversees the entire operation.
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WRITE FOR LITERATURE
HAROLD’S Photography & TV
308 South Phillips, Sioux Falls, S. D.
RUBY CAMERA EXCHANGE
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35 mm . 16 mm.
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IN BUSINESS SINCE 1910
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Produce moonlight and night effects
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Information moiled on request.
SCHEIBE FILTERS COMPANY
ORIGINATORS OF EFFECT FILTERS
P.o. »•* 4*834, Hellyweod 44, Calif.
American Cinematocrapher
December, 1955
733
Synchronous Motor Drive for
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Now he is checking the lights. On this
shot he is doing the final lighting on the
principals themselves, rather than the
stand-ins. Then he climbs on the boom
and runs through the shot from start to
finish, observing the scene all the while
through the camera finder.
The past fifty minutes has been a
period of intense work for every man
connected with the camera. Each man
appears relaxed and working in a casu¬
al manner most of the time. But they
are fooling no one. They are faced here
with a complex and extremely difficult
shot and they are concentrating on ac¬
complishing it with perfection. Each is
an experienced craftsman, proud of his
work, and measures his accomplish¬
ments by a standard that only recog-
izes the best.
The camera crew has everything in
readiness, and is ready to run through
the action with the actors in a rehears¬
al. Here again 1 observed the fine pre¬
cision and coordination that marks the
work of every man on the crew. At
exactly 2:12 p.m., they rolled a slate
and shot the scene for the first time.
Five additional takes and the director
was satisfied to move on to the next
setup.
The camera is moved now for a side
angle of the shot just finished. The
camera is moved outside the building
and will be shooting toward the inside,
through the rain. The grips remove the
crane and the tracks. The camera is dis¬
mounted from the crane and re-mounted
on a tripod, which is then placed on a
parallel— a sort of giant Tinker-toy
platform that can be readily assembled
and built to various heights, as re¬
quired.
Shooting a rain sequence calls for
certain precautions to protect the cam¬
era and lens, so a plastic cover is placed
over the camera temporarily until the
company is ready to shoot. In the mean¬
time, grips appear and proceed to erect
a more durable protective cover called
a “greenhouse.” This is a three-sided
canvas enclosure with a roof and is
placed over the camera and crew.
The artificial rain-making equipment
is tested, and what appears as a heavy,
torrential rain pelts the set. The special
effects men, in whose department this
activity falls, are all over the set, ad¬
justing the nozzles on the water lines
to get the best possible “rain” effect.
In front of the “greenhouse,” Milton
Krasner is directing the lighting of the
set. Rain shots pose some unique prob¬
lems in lighting, he told me. The set has
to be lit mostly from the back or the
rain will fail to register clearly as such
on the screen. Also, rain shots call for
stopping down the lens because the rain
droplets reflect a great deal of light.
When Krasner had the set lighted to
his satisfaction, I looked at the scene
through the finder. The whole effect is
highly realistic. Now the rain volume is
adjusted to a heavy downpour. It not
only looks real, but it sounds real.
The special effects men turn off the
rain temporarily and the principals take
their positions on the set. The slate is
shot as the camera starts to roll and the
action photographed. One take does it.
The rain is stopped and Krasner begins
to set up for his next shot. It will be
virtually the same, except in closer.
Meantime, the camera is covered with
the plastic sheet and removed from the
parallel. The parallel is moved in closer
and the camera re-mounted on it. The
“greenhouse” is set in the new position;
Krasner starts lighting for the closer
shot ; and the camera crew is very care¬
ful now to keep the camera fully pro¬
tected against the rain, as they are now
working right up close to it. Rather
quickly, everything is set for the take,
and the scene is photographed. Direc¬
tor Negulesco said “print it,” looked at
his watch, and decided to call it a day.
The camera is dismounted from the
tripod, the magazine removed, and
everything is put in its alloted place on
the camera cart; the lens is put back
in its special case; the finder, the maga¬
zine, all are removed completely from
the camera. Only the hydraulic head
the camera rests upon, when mounted
on the crane, is left on the crane, since
the company will be using it again the
next day.
While the camera crew is taking care
of all this, Krasner is busy lining up the
first shot scheduled for the following
morning, so that the crew and the elec¬
tricians will be able to go right to work
on it when they come in.
The camera and equipment is now on
the way back to the camera department.
Krasner, his operator and assistant, the
director, and others proceed to the pro¬
jection room to see the rushes of the
previous day’s work. In this way they
check their progress, keep tabs on fo¬
cus, exposure and camera movement, as
well as the general composition and spe¬
cific detail of the story.
Meantime, camera No. 15 is under¬
going its regular nightly inspection and
conditioning. It will be completely in¬
spected, cleaned and lubricated by a
competent mechanic of the studio’s cam¬
era department, ready to take up its
duties again the next day on the sound
stage.
Thus did one day pass in the life of
Twentieth Century-Fox camera No. 15.
One day of a long and colorful life; a
life that has found this and other cam¬
eras like it shooting from helicopters,
race cars, underwater, aboard ship, or
in fast moving planes. No job has yet
been devised that a Hollywood camera
and crew couldn’t handle.
734
American Cinematographer
December, 1955
CLASSIFIED ADVERTISING
Ads sef jn Ughtface type, 10 c per word; minimum ad, $1.00.
Text set in lightface capital letters (except 1st word and advertiser's
name) 15c per word. Modified display format (text set in boldface
type, capitals or upper-and-lower case) 90c per line. Send copy with
remittance to cover payment to Editorial Office, American Cinematog¬
rapher, 1782 No. Orange Drive, Hollywood 28, Calif. Forms close 15th
of month preceding date of issue. No discount on Classified Advertising.
STUDIO & PRODN. EQUIP.
FOR SALE
FOR SALE
30TH ANNIVERSARY— S.O.S. SALE OF SALES
PLASTIC TITLING LETTERS & Symbols. Set ot
80 characters %" high, 5 fonts, assorted
colors . _...$ 2 95
NEUMADE EDITING TABLES, 28" wide, 30"
high, 38" and 42" long with lightbox.
Cost new $57.50. Surplus . 33.95
NEUMADE & DUPLEX FILM MEASURING Ma¬
chines, 2 gang $35.00; 3 gang . 49.50
NEUMADE 2 GANG SYNCHRONIZERS, 35mm. 75.00
ACME ANIMATION CAMERAS, 16 & 35mm,
reconditioned — from . 1750.00
CAMERETTE 35mm REFLEX w/4 Kinoptik
Lenses; 3 magazines; battery motor; 110
AC motor; extension tubes; automatic
focus changer. Excellent . . . . 2750.00
MITCHELL 16 CAMERA w/3 Baltar Lenses,-
2 — 400' magazines; 12V motor; 35mm
Mattebox sunshade, carrying cases. Fine
condition . 2995 00
FILMTRONICS POWER SUPPLY for Auricon or
other motor driven cameras. Includes bat¬
tery with charge outlet . 68.50
AKELEY AUDIO SOUND CAMERA, 6 fast
lenses,- 3 magazines,- motor; V.D. gal¬
vanometer; amplifier,- 2-WE mikes; cables
and cases. $9500 value . 4450.00
FEARLESS GEARHEAD, 2 SPEED with wedge. 1025.00
AKELEY 35mm EDITING MACHINE, sound,
picture, preview, $300 value . . 1295 00
ZOOMAR 35mm TELEVISION LENS. . 5595.00
NEW FRESNEL STUDIO SPOTS, lead wires,
switch, pipe clamp.
2000 Watt . $59.95 5000 Watt . 99.95
10' TITLE ANIMATION STAND w/motorized
zoom and stop motion. Completely wired
with footswitches. Art Table takes largest
work. $2500 value . . . . . . . 975 00
DULLING SPRAY— SUBDUES HIGHLIGHTS from
shiny surfaces. Wipes off clean without
solvent.
12 oz. can . $1.95 Dozen lots . 1.35
BARDW ELL- McALISTER multiple FLOODLITES,
3 Quadruple heads to hold 12 bulbs on
rolling tripod stand. Orig. Gov't Cost $180.
Surplus . _ . 29.50
BM QUADLITE Heads only $4.95. Stands only 19.95
NEW RCA 400W FLUORESCENT FLOODLITES,
take 6-18" tubes, 21" square, fit BM
stands. $60.00 value . „ . 29 50
B&H 16mm FILMO SPECIALIST CAMERA
w/rackover, matte box, Mitchell type
finder; syncmotor; 400' mag.; w/case.
$2000 val . . . 995.00
CINEX EXPOSURE TESTING MACHINES— used
by leading labs. Originally $4000.00. Re¬
built . 1995.00
DEPUE PICTURE REDUCTION PRINTER, 35/16
Optical. Rebuilt . . . 3995 00
NEW AMPRO PA-3 TRI-PURPOSE Amplifiers.
Maximum output 85 watts. Lists $278.00,
with tubes . . . 99 50
NEW H'xl4' ROLLER SCREENS, ropes & pul¬
leys, mat white . 49 50
AURICON DOUBLE SYSTEM RECORDER w/noi’se
reduction amplifier . 295.00
DOLLY TRACK with connectors, 5'-10'-15'
lengths, per ft . 4.95
with self-levelling screws — per ft . 5.95
TRADES TAKEN Cable: SOSOUND Dept, fc
S.O.S. CINEMA SUPPLY CORPORATION
602 W. 52nd Street, New York 19 Phone PL 7-0440
Western Branch— 6331 Hollywood Blvd.,
Hollywood, Calif. Phone HO 7-9202
F&B PRESENTS
USED EQUIPMENT BARGAIN LIST
Hundreds of Bargains!
Cameras — Moviolas — Synchronizers
Auricon — Arriflex- — Eyemo
Lenses — Tripods — Screens
Projectors — Reco rders
Reels & Cans — Spotlights
Editing Equipment
Send your name on a postcard NOW
Get on our MONTHLY MAILING LIST for
F&B Used Equipment Bargain List
FLORMAN & BABB, 68 W. 45th, N.Y. 21, N.Y.
16MM HOUSTON K-1A . . . developing machines.
For reversal or positive film. Complete with
refrigerator units, temperature control, condensors,
evaporators, thermostats, etc. BRAND-NEW, prices
reduced! Write. AIR PHOTO SUPPLY, Dept. C-l,
555 E. Tremont Ave., New York 57, New York.
OUR 26th YEAR ★ ★ ★ ★ SUPPLYING EVERYTHING
PHOTOGRAPHIC AND CINEMATIC
MATCHED PAIR OF HOLMES 35mm SOUND
PROJECTORS. Magazine film capacity 2000'
12" Speaker & Amplifier, 1500 Watt Lamps.
Value $1600.00. Gsaranteed . $ 635.00
35mm DEBRIE CAMERA MODEL L/E featur-
turing 1 — 28rnm Schneider lens, 1 — 50mm
Schneider F2. lens, 1 — 75mm Schneider F2.3
lens. Pilot Registration Pins, Dirert fo-
lusing on ground glass, 6 — 400' maga¬
zines, DeBrie gearhead tripod. Matt box.
Value $2355.00 . . . 1250.00
RADIANT FOLD-PAK WASHABLE SCREEN un¬
used. 1 2'xl 6' New Value $215.00 . 125.00
ART REEVES SENSITESTER Combination 35mm
and 16mm. Value $2,000.00. Special . 595.00
B&H 16mm FILMO CAMERA Model 70-DA
with 17mm f2.7 Wollensak, 1" fl .5 Dal-
meyer, 2" f2.8 Schneider. 3" f4 B & H
Teletar, and 6" f4.5 Telephoto Xenar
Lense<;; 2-400' Magazines; Motor; Wells
Semi-Professional Tripod: Carrying Case.
Value $1,695.00. Special . 1150.00
STANDARD MITCHELL 12 V Variable Speed
Camera Motor. Factory Guarantee . 300.00
Also 110 V AC-DC Motor with Tachometer.
Value $580.00 . 395.00
35mm B&H SINGLE SYSTEM SOUND CAM¬
ERA. Lenses: 40mm, 50mm, 75mm, 125mm.
Modulite galvanometer, amplifier, motor,
Tachometer. 2-1000' magazines, Tripod
with Freehead, quick release legs, carry¬
ing cases. Guaranteed . 3250.00
SCHOEN PRINTER, sound and silent, color,
B & W. Features: 16mm picture & sound
together, film capacity 1600 feet, 50' per
minute,- 12 adjustable light channes; AC-DC
conversion unit . 999 00
LACO INCANDESCENT LAMP 24" Reflector.
Five Kilowatts. Rolling Stand. Value
$246.00. Special . 110.00
35mm DUPLEX PRINTER Adapted for sound
track, excellent for duping. Academy Aper¬
ture. Speed 250 pictures per minute per
side. Two light change boards, 18 different
lights each side, 21 scenes. Motor 110 V,
perfect mechanical condition . 875.00
MOLE RICHARDSON combination Microphone
and Lamp BOOM. Rolling stand. Special.... 235.00
B&H CAMERA CHECK PAWL. High speed
Shuttle. List Price new, $1742.00. In good
condition . 195.00
B&H 12V or 24V EYEMO & FILMO MO¬
TORS. New. Value $142.00 . 95.00
MOLE RICHARDSON 2000 Spot, rolling stand 110.00
ENLARGERS, EXCELLENT CONDITION, EL-
WOOD. Auto focus, lens and stand. Size
5x7 . 235.00
Size 8x10 . 400.00
SPECIALIZING IN MOVIE AND TELEVISION SUPPLIES,
TRIPODS, SYNCHRONIZERS, 16mm SOUND CAMERAS
lights, lenses, mikes, booms, dollies, motors, etc.
New — Used. Reasonable prices. Cash for used equip-
ment. Trades taken.
HOLLYWOOD CAMERA EXCHANGE, LTD.
1600 CAHUENGA BOULEVARD, HOLLYWOOD 28, CAL.
GERMAN STILL 35mm cameras. Import your own.
Save importers and retailers profits. (About 35%).
Pay postman duties. Examples: EXAKTA. The only
completely versatile 35mm camera. With:
Automatic diaph. Zeiss Tessar
F/2.8 . $159. (duty $22.)
Automatic diaph. Isco Westanar
F/2.8 . $139. (duty $19.)
Automatic diaph. Schneider Xenon
F/1.9 . $195. (duty $26)
Automatic diaph. Zeiss Biotar
F/2.0 . $199. (duty $26)
Similar prices all other famous makes. All new.
Latest 1955 production in original factory packing.
Parcelpost and insurance included. No other
charges. Pre-payment through bank and inspection
on arrival guarantees you complete satisfaction
before we are paid. Experienced, (and objective)
advisory service, (please specify interests and re¬
quirements), and pricelists by return airmail. All
transactions on money-back basis. WORLDPOST.
TANGIER, MOROCCO.
WE BUY, SELL AND RENT PROFESSIONAL AND 16mm
EQUIPMENT, NEW AND USED. WE ARE DISTRIB¬
UTORS FOR ALL LEADING MANUFACTURERS. RUBY
CAMERA EXCHANGE, 729 Seventh Ave., New York
City. Established since 1910.
BASS ... is headquarters tor Arriflex 16, the
new Zoomar 16, Cine Specials all models, Bell &
Howell 70-DL, Bolex H-16: Used 35mm. Akeley
#145 with Akeley Gyro tripod, matched pair
Tessar 5 cm. F:2.7 lenses, magazines, case, extra
lenses, $250.00; Used 35mm. DeBrie Parvo Model
G, all metal, 32mm. B&L W.A. F:4.5, 2" Tessar
F:2.5, 50mm. Ultrastigmat F: 1 .9, 3" Goerz Hypar
F:3.5, 12 cm. C. Z. Tessar F:4.5, masks, pan and
tilt tripod, magazines, carrying cases, $250.00;
H-16 DeLuxe Bolex, 11" F: 1 .5, 0.7" F:2.5 W.A.,
filter slot, $275.00; Victor 5, 1" F: 1 .5, 3" F:3.5
Wollensak lenses, $125.00; Cine Special II, 1"
F: 1 .4 Ektar, optical finder, reflex finder, Yolo fader,
Case, $795.00. Best buys . . . Best trades always.
BASS CAMERA CO., Dept. AC, 179 W. Madison
St,, Chicago 8, III.
WALL S. S. 35MM. SOUND CAMERA
COMPLETE with Galvanometer, amplifier, portable
power supply, 40-50-75 and 100mm. lenses, erect
image viewfinder, complete front attachments, two
1 000 ft. magazines. Balanced Tripod, necessary
carrying cases. Overhauled. Guaranteed perfect.
Reasonable.
CAMERA EQUIPMENT COMPANY
1600 Broadway New York 19, N. Y.
AUDIO AKELEY single system camera complete with
Akeley sound head, Gyro tripod, 3 lenses, view
finder, Maurer mixing amplifier. Complete with
cables, power supply and W. E. microphone.
CAMERA EQUIPMENT CO., 1600 Broadway, New
York 19, N.Y. Cable: Cinequip.
PRECISION Magnetic Heads for Engineers - Industry
Erase - Record - Playback
STANCIL-HOFFMAN CORPORATION
921 North Highland Avenue
Hollywood 38, California
BELL and Howell 16mm camera with 10" lens (Eymax
Telephoto Type F 4.5), 6" lens (Taylor Hobson Cook
Teleking F 4.5), 3" lens (Bell and Howell Telate
F 4.5). Also includes Gyro Tripod, Stanley transformer
Type B, 24 volt D.C. motor. PATERSON CINEMA
LABORATORY, 846 East 27th Street, Paterson, N.J.
AURICON Blimp for Cine Special with sync motor, like
new, $395; Pan Cinor zoom lens, new F2.8 model,
perfect; Single lens Eyemo (C mount) 2" F4.5 lens,
excellent, $175. PAUL RUBENSTEIN, 228 S. Franklin,
Tampa, Fla.
THREE new 16mm Bell & Howell lenses: 1" Fl .9;
0.7" F/2.5; 3" F/4 ; plus matching viewfinders,
sunshades and filter holders. Over $300 value.
Perfect condition, never used, $200 complete price.
Private party. JOHN KISBEY, 1815 Litchfield Ave¬
nue, Long Beach 15, California.
CINE Special I, excellent condition, new type maga¬
zine, 25mm F/1.9 lens, 15mm F/2.7 lens, tubular
finder, deluxe case, $399.95. Without tubular finder
$359.95. WESTERN CINE SERVICE, INC., 114 E.
8th Ave., Denver 3, Colo.
16MM HALLEN synchronous magnetic recorder.
Model B25-16, $495.00. GENE A. CARR, 539 Vine
Street, Chattanooga, Tennessee.
BELL & HOWELL Filmo-H, like new, sync motor, 400'
magazine, F : 1 . 5 , 25mm lens, $500.00. ROSCOE
PERDUE, P.O. Box 671, Roanoke, Va. Telephone
23958.
BERNDT-MAURER 503-B. Registration pin prismatic
viewfinder. Internal rackover; two 400 ft. maga¬
zines, 16.25.50. Matched Schneider lens, sync mo¬
tor. Also 12V motor — 12V Aircraft battery and
carrying case, light meter, sunshade. Perfect con¬
dition. The first $1,675.00 takes all. M. A. JOSEPH,
15200 Kercheval, Grosse Pte. Park 30, Michigan.
CINE Kodak Special I, leather covered; 100 ft. maga¬
zine, 2 — 200 ft. magazines; 15mm, 25mm, 83mm
lenses,- deluxe carrying case. All perfect, like new.
First offer entire or 200 ft. magazine separately.
CHARLES CLARKE, 328 S. Bedford Dr., Beverly
Hills, Calif.
V2" SYNC tape recorder .Magnecord four channel
PT6P amplifier with PT6A Transport. Complete in¬
cluding sync head and carrying cases, $400.00.
TELECINE FILM STUDIO, Park Ridge, Illinois.
( Continued, on Next Page 7
American Cinematographer • December, 1955 •
735
Classified Ads
(Continued from Preceding Page)
WANTED
WANTA REDUCE INVENTORY?
WE’LL BUY
Cameras, Dollies, Lenses, Lights,
Moviolas, Printers, Recorders,
Studio or Laboratory Equipment.
We also trade or take consign¬
ments. Set your own price — we’ll
get it.
Western Union-WUX New York,
Phone PL 7-0440
S.O.S. CINEMA SUPPLY CORPORATION
Dept, fc Cable: SOSOUND
602 W. 52nd Street New York 19, N. Y.
Western Branch — 6331 Hollywood Blvd.
Phone HO 7-9202, Hollywood, Calif.
IMMEDIATE CASH PAYMENT FOR
CAMERAS AND EQUIPMENT
NEED EYEMOS (SINGLE LENS AND TURRET)
MITCHELLS, ARRIFLEX, DE BRIES, B&H STANDARDS
AND HI-SPEEDS, WALLS, AKELEYS, CINE SPECIALS,
AURICONS, MAURERS, FILMOS. ALSO BALTARS,
COOKES AND OTHER LENSES. SOUND STAGE
LABORATORY AND EDITING EQUIPMENT OF ALL
TYPES REQUIRED. PLEASE SHIP INSURED OR FOR¬
WARD DESCRIPTIONS AIRMAIL". IMMEDIATE PAY¬
MENT.
GORDON ENTERPRISES • 5363 N. Cahuenga
NORTH HOLLYWOOD, CALIFORNIA
WANTED FOR SPOT CASH
Used Mitchells, Auricons — other Cameras
Moviolas — Editing Equipment — Projectors
Spotlights — Sound Equipment
All Types Used Equipment
From a Splicer to a Complete Studio
Write — -Wire — Phone
or Send Equipment in for Spot Cash
FLORMAN & BABB Murray Hill 2-2928
68 West 45th Street New York 36, New York
WANTED
PRODUCTION EQUIPMENT, LABORATORY EQUIPMENT,
EDITING EQUIPMENT, 16mm. and 35mm. FROM SIN¬
GLE ITEMS TO COMPLETE STUDIOS. TRADES AC¬
CEPTED.
THE CAMERA MART, INC.
1845 Broadway Circle 6-0930 New York 23, N.Y.
WANTED TO BUY FOR CASH
CAMERAS AND ACCESSORIES
MITCHELL, B&H, EYEMO, DEBRIE, AKELEY ALSO
LABORATORY AND CUTTING ROOM EQUIPMENT
CAMERA EQUIPMENT COMPANY
1600 BROADWAY, NEW YORK CITY 19
CABLE: CINEQUIP
WANTED
Mitchell — Akeley — B&H — Wall — Eyemo
Cameras — Lenses — Equipment
NATIONAL CINE EQUIPMENT, INC.
209 West 48th St. New York, N.Y.
16MM KODACHROME footage of Carnival at Rio de
Janeiro, Brazil. Write Box 1228, AMERICAN CIN¬
EMATOGRAPHER.
POSITIONS WANTED
NEGRO — Catholic, experienced cameraman, 35mm
newsreel, 16mm color productions, editing, light¬
ing, titling, also projectionist. MALCOLM MYERS,
3424 Clark Ave., St. Louis 3, Missouri.
WRITING-Production team. Completely and well
equipped for sixteen millimeter color and sound.
Operating own script to answer print studios since
1952. Seeks incorporation into organization or
company as production department. Also interested
in working exclusively for organization or person
requiring extensive location and production work
in or out of U.S.A. Complete references, background
resumes and production sample on request. Box
1229, AMERICAN CINEMATOGRAPHER.
POSITIONS AVAILABLE
GROWING producer in South has excellent opportu¬
nity for man experienced in motion picture and
still photography. Must also have editing experi¬
ence. Give experience and references in first letter.
Write Box 1230, AMERICAN CINEMATOGRAPHER.
ASSIGNMENTS WANTED
ALASKA assignments, 16mm sound or silent, 35rnm
silent. DON CUTTER, 238 4th Avenue, Anchorage,
Alaska.
PRODUCER of educational, TV, and industrial films.
Experienced cameraman with extensive 16mm pro¬
duction equipment. Open to produce films in Cen¬
tral America and the U.S. after January 1st. H. M.
RIESH, 1314 Mishawaka Ave., South Bend 15,
Indiana.
CAMERAMAN for South America (Chile-Argentina-
Uruguay) with 16 and 35mm equipment for docu¬
mentaries, voyages, news and TV, 16 and 35mm.
Accepts to produce for concern. ISMAEL G. ARIS-
TIMUNO, Jose M. Morino 1322, Buenos Aires,
Argentina.
LABORATORY & SOUND
ROCKY MOUNTAIN 16MM HEADQUARTERS
Processing — Printing — Recording
Editing — Production — Rental — Sales
DuPont, Eastman and Fastax films in stock.
Write for Price List.
WESTERN CINE SERVICE, INC.
114 E. 8th Ave., Denver 3, Colo. TAbor 5-2812
SOUND RECORDING at a reasonable cost. High
Fidelity 16 or 35. Quality guaranteed. Complete
studio ond laboratory services. Color printing and
lacquer coating. ESCAR MOTION PICTURE SERVICE,
INC., 7315 Carnegie Avenue, Cleveland 3, Ohio.
Phone Endicott 1 -2707.
16mm SOUND and picture editing — sound recording —
music— effects. DON DUNN'S EL RANCHO AUDIO,
near Palos Verdes and L.A. Harbor. 26246 Fairview
Avenue, Lomita, Calif. DAvenport 6-4925.
LABORATORY Services 16mm-35mm. Developing, Print¬
ing & Reduction. Reasonable. Quality guaranteed.
NATIONAL FILM PRODUCTIONS, 955 Diana Ave.,
Akron, Ohio.
INSTRUCTION, CORRESPONDENCE SCHOOLS, ETC.
NATIONWIDE SCHOOL OF CINEMATOGRAPHY— com¬
plete professional course in cinematography, cover¬
ing all phases of motion picture production and
technical aspects. Many leading newsreel and TV
camera men started their careers with a Nation¬
wide diploma. Course now available by mail at
reduced rates, easy installment plan. For details
write NATIONWIDE SCHOOL OF CINEMATOG¬
RAPHY, Dept. A, 4211, Gaston Ave., Dallas, Texas.
BUSINESS OPPORTUNITIES
WANT to hear from man qualified technically and
financially for partnership in Kodachrome processing
lab in Southern California. Write AMERICAN CIN¬
EMATOGRAPHER, Box 1226.
MOTION PICTURE STUDIOS FOR SALE
COMPLETE production equipment — camera, sound and
editing. Leased facilities including 25x30 ft. sound¬
proof studio. Large client list and benefit of five
years sales promotion. Located in San Francisco.
Chance of a lifetime to acquire a going business
for only $25,000. Over $30,000 worth of equip¬
ment and furnishings. Sale of business necessitated
by breakup of partnership. Box 1227, AMERICAN
CINEMATOGRAPHER.
A COMPLETELY equipped commercial photographic
studio. Nothing to compare in this area. Terrific
potential. Established 3 years and grossing $100,000.
Marvelous equipment worth about $35,000. A. T.
BRENNER & COMPANY, Fond du Lac, Wisconsin.
SLIDES
STEREO COLOR DUPLICATES from your slides, 60;
2x2 25c, mounted. Best custom work. Send for price
list on quantities. BELL SLIDE FILMS, 200 W 56th
St., New York.
“GEORGE” AWARDS
( Continued from Page 705)
John Seitz, A.S.C., photographed the
memorable ‘"Four Horsemen of the
Apocalypse.” It is considered by many
one of the best photographed black-and-
white motion pictui'es of all time. His
magic camera technique also embellished
“Prisoner of Zenda," and “"Scara-
mouche” — both Metro productions
filmed during the early twenties.
Of the five cinematographers honored
by the George Eastman House on No¬
vember 19th. only two were able to be
present. Arthur Edeson and Hal Rosson
flew to Rochester from Hollywood for
the presentation ceremonies. Lee Garmes
was unable to finish his assignment on
“Bottom of The Bottle” at Twentieth
Century-Fox in time to be present.
Charles Rosher was enroute to his
estate in Jamaica from Africa, where
he had spent several months. And John
Seitz, like, Lee Garmes, was unable to
take time off from a Hollywood studio
assignment.
Of the twenty cameraman-director-
actor-actress awardees slated to receive
the “George” awards, only half were
able to be on hand for the presentation
ceremonies in Rochester. And because
most of those absent were in Hollywood,
the awards committee of the George
Eastman House Festival of Film Artists
has decided to re-stage the presentation
in Hollywood the evening of December
7th. This will take place at the Screen
Directors Guild theatre on Sunset Boule¬
vard.
Many consider the “George ' trophy
awarded by the George Eastman House
as impressive in appearance as Holly¬
wood’s famous gold Oscar. Whereas the
Oscar is a statuette, the “George” trophy
is a bronze medallion encased in a block
of crystal clear tenite and mounted on
an onyx-like base. It is pictured on this
month’s cover of American Cinematog¬
rapher.
The cameramen, of course, were just
five of the twenty illustrious personages
voted for the awards by the George
Eastman House committee. The motion
picture directors cited included John
Ford, Henry King, Marshall Neilan,
Frank Borzage and Cecil B. De Mille.
Actresses were Mary Pickford, Lillian
Gish, Mae Marsh, Gloria Swanson and
Norma Talmadge. The five actors com¬
pleting the roster of twenty early-day
cinema greats were Harold Lloyd. Rich¬
ard Barthelmess, Buster Keaton, Charlie
Chaplin and Ronald Colman.
Jesse L. Lasky, chairman of the Fes¬
tival of Film Artists, made the presenta¬
tions, and he will serve in the same
capacity at the Hollywood presentations
to take place December 7th.
736
American Cinematographer
December, 1955
Index To AMERICAN CINEMAT0GRAPHER-- 1 955, Vol. XXXVI
INDEX BY TOPICS
A
A Day With A Camera: 708.
Academy Award Winners for 1954: 206.
Adapting the Zoomar Lens to the Auricon-Pro: 28.
'African Lion,' Filming The: 534.
After the Last Shot Is Made: 398.
A Magnetic Sound Recording Camera: 338.
And Now 55mm: 706.
An All-film Television Station: 203.
Animation Major Factor in Production of TV Ad
Films: 588.
Anscochrome Now Available in 16mm: 606.
An 'Emmy' for Cinematography: 209.
American Cinematographer Handbook, Origin of: 400.
A Parallax-correcting Viewfinder for 16mm Cameras:
415.
A Plea To Congress via Film: 224.
A Problem In Lighting: 222.
Artistic Honesty in Cinematography: 403.
A.S.C. Fetes Charter Members Arthur Edeson and
Victor Milner: 264.
B
Battle Cry, Filming Battle Scenes For,: 84.
Booklets, Catalogs, Brochures: 22, 102, 128, 194, 301,
326, 700.
Bugs In His Lenses: 418.
C
Cameras: 24, 157.
Camera, The Role of the,: 82.
Camera Tricks: 160.
CameraVision — New Video-film System For Feature
Production: 340.
Carbons, The New Yellow Flame,: 464.
Cine Camera Tricks: 226.
CinemaScope on 55mm Film: 582.
CinemaScope Photographic Techniques: 336.
Cinematography In Parachute Research: 275.
Circarama, Eleven Cameras For,: 476.
Color-Television Film Shooting Practices: 142.
Combining Black-and-White With Color: 288.
A Coupled Range Finder For Cine Cameras: 480.
Cronar: See "Toughest, Thinnest Film,": 646.
D
Defining Optical Definitions: 285.
Disneyland Exhibit Controls, Kinevox, Inc., Builds,:
496.
E
'East of Eden,' The Photography of,: 149.
Editing: 80, 158.
Editing an Unscripted Movie: 158.
Effect Lighting, Use of In Commercial Film Production:
710.
'Electronicam,' DuMont's New Dual-recording TV-Film
Camera: 280.
Eleven Cameras For Circaramaa: 476.
Experiments With The Camera: 214.
Exposure Determination For Variable Shutter Speeds:
524.
F
Fifty-five MM Film, CinemaScope On: 582.
Film Unit Operation in the Small TV Station: 144.
Filming A Prize-winner: 538.
Filming A 'Round-the-world Cruise: 276.
Filming Auto Race Thrills for 'The Racers’: 272.
Filming Battle Scenes for Battle Cry': 84.
Filming Blackboard Jungle': 334.
Filming For Philco: 592.
Filming "The African Lion": 534.
Filming The Birth of a New Automobile: 595.
Filming With Filmorama: 718.
Filmorama, Filming With: 718.
Film Processing: 88.
Filters: 348.
Filters, Use of in Cinematography: 348.
Five Veteran Cinematographers Honored With
"George" Awards: 705.
'Forbidden Planet,' The Filming of,: 460.
G
"George" Awards, Five Veteran Cinematographers
Honored With: 705.
"Giraffe" — Something new in Camera Cranes: 278.
Gleason Goes "Live on Film": 584.
Golden Globe and Look Award Winners: 208.
Guts, Vision — Crying Needs To Rejuvenate
Newsreels: 471 .
H
Hollywood Bulletin Board: 6, 58 118, 188 256,
316, 382, 458, 508, 574, 630, 694.
Hollywood Studio Production: 46, 106, 136, 242, 302,
366, 434, 494, 554, 614, 678, 732.
Industrial Cinematographer: 650.
Industry News: 16, 74, 132, 192, 254 314 378,
446, 520, 572.
Innovations Highlight New S6 Magnetic Recorder: 536.
K
Kinevox, Inc., Builds Disneyland Exhibit Controls: 496.
Kodak Announces Tri-X 16mm Reversal: 488.
L
Laminated Magnetic Sound Tracks for 16mm Films:
154.
Lenses: 28, 214.
Lenses, Bugs In His,: 418.
Lighting, A Problem in,: 222.
Lighting, For Commercial Films: 467.
Location Trucks: 404.
Look Award Winners-. 208.
Low-budget Training Film Production: 30.
M
Magnasync Sponsoring Educational Contest: 452.
Magnetic Recording: 154, 338, 717.
Magnetic Recording for Auricon Cameras: 717.
Makeup Magic for Today's Color Films: 526.
Miniatures, Use of in 16mm Films: 412.
Motion Picture Production at University of Oklahoma:
86.
Movies In Law Enforceement: 463.
Movie Studio In A Truck: 714.
Movies Without a Camera: 34.
N
New Animation and Title Equipment: 342.
New Automatic Shutter on Kodascope Pageants: 490.
New Kodak Cine Cameras Simplify Movie Making:
660.
New Lightweight VistaVision Camera: 713.
Newsreel Cameraman of the Year: 347.
Newsreel Photography: 648.
Newsfilm Tailored for Television: 408.
Not As A Stranger,' The Photography of: 396.
O
Oklahoma,' Shooting in Todd-AO,: 210.
Old Time Movies Restored: 392.
Origin of the American Cinematographer Hand¬
book: 400.
Oscar' Nominees For 1954: 139.
Our Movie On TV: 227.
P
Photographing the 1955 Mobilgas Economy Run: 281.
Photography at 40,000 Feet: 532.
Point of View is Important: 92.
Preparation of 16mm Printing Leaders: 586.
Pre-printing Preparation of 16mm Films: 531.
R
Rangefinder, A Coupled for Cine Cameras: 480.
Roster of American Society of Cinematographers:
96, 422.
'Round-the-world Cruise, Filming a,: 276.
S
Say Something Extra with Sound: 478.
Set Lighting For Commercial Films: 467.
Shooting Double-system Sound With a Single-system
Camera: 351 .
Shooting Movies From The Air: 540.
Shooting 'Oklahoma' in Todd-AO: 210.
Shooting Script, Why A: 416.
Shooting The Big Scenes For 'The Tall Men': 644.
Shooting The Entire Picture on Location: 474.
"Six Bridges To Cross" — Suspense in Black-and-
white: 78.
Small Subjects, Big Closeups: 286.
Something New in Camera Cranes: 278.
So You Want To Shoot Indians!: 90.
So, You Want To Be a Hollywood Cameraman: 657.
Sound: 662, 351.
Sound, Say Something Extra With,: 478.
Speed in Film Processing: 88.
Splicing Motion Picture Film With Tape: 15).
'Strategic Air Command' (Photography at 40,000
Feet): 532.
Suiting The Lens To The Scene: 213.
Summary of Current Wide-Screen Systems of
Photography: 654.
Superscope Process, The: 591 .
Swan Song of India: 658.
Synchronized Sound With Any Silent Projector: 662.
T
Technical Progress in 1954: 24.
Teelevision Filming: 27, 140, 142, 144, 203, 280,
340, 408, 471, 584, 648.
The Big Switch is to TV: 27.
The Case for Hand Lettered Titles: 597.
The Cinematographer and the Independent: 344.
The Drama of Color: 720.
The Filming of 'Forbidden Planet': 460.
The New Auricon Pro-600: 157.
The New Yellow Flame Carbons: 464.
The Photography of ‘East of Eden': 149.
The Photography of 'Not As A Stranger': 396.
'The Racers,’ Filming Auto Race Thrills For,: 272.
The Role of the Camera: 82.
American Cinematographer
The Superscope Process: 591 .
'The Tall Men,' Shooting The Big Scenes For,: 644.
The Trend to Wider Motion Picture Negatives: 332.
The Use of 'Existing Light' in Newsreel Photoqraphy:
648.
The Video-Film Camera: 140.
This College Campus Film Crew Makes Training
Films: 282.
Time-lapse Cineematography: 228.
Time Lapse Transitions: 596.
Titles, The Case for Hand Lettered,: 597.
Toughest, Thinnest Film: 646.
Travelogues Offer Filming Challenge: 36.
Tricks, Cine Camera,: 226.
Tricks, Camera: 160.
Tri-X In Feature Film Production: 33.
Turning Back The Clock: 638.
Twentieth-Fox Develops "Zoom" Spotlight: 306.
U
Universal- International Introducees New Camera
and Location Truck: 404.
Use of Effect Lighting In Commercial Film Production:
710.
Use of Filters in Cinematography: 348.
Use of Miniatures in 16mm Films: 412.
V
Visible Edge-numbering of Film Aid to Editing: 60.
VistaVision, New Lightweight Camera: 713.
W
What's New in Equipment, Accessories, Service: 10,
62, 124, 198, 260, 320, 386, 450, 510, 568,
628, 690.
Why A Shooting Script?: 416.
Wide Screen: 322, 654.
Wide Screen: (See "Summary of Current Wide Screen
Systems of Photography": 654.
Y
Your Questions Answered by Jackson J. Rose, A.S.C.:
696.
INDEX BY AUTHORS
A
Allen, Leigh — "The New Auricon Pro-600": 157.
— "An Emmy' For Cinematography”: 209.
— "Gleason Goes 'Live On Film' ": 584.
— "Speed In Film Processing": 88.
— "Newsreel Cameraman of the year": 347.
— "Eleven Cameras for Circarama": 476.
Anderson, Charles L. — "Visible Edge-Numbering of
Film Aid To Editing": 80.
Arnold, John, A.S.C. — "Defining Optical Definitions":
285.
B
Bakke, John W. — "The Industrial Cinematographer":
650.
Balter, Allan — 'After The Last Shot is Made": 398..
— "A Day With A Camera": 708.
Benson, Harold — "Movies Without A Camera ': 34.
— Editing An Unscripted Movie": 158.
— "Experiments With the Camera": 214.
— "Why A Shooting Script?": 416.
— "Say Something Extra With Sound": 478.
— "Time Lapse Transitions”: 596.
— "Synchronized Sound With Any Silent Pro¬
jector": 662.
C
Caloia, Leo — "Shooting Double-system Sound With
a Single-system Camera": 351.
— "Small Subjects, Big Closeups": 286.
Chinn, Howard A. — "Color-Television Film Shooting
Practices”: 142.
Clarke, Charles G., A.S.C. — "CinemaScope Photo¬
graphic Techniques": 336.
— "And Now 55mm": 706.
Cline, Wilfrid B. — "The Superscope Process": 591.
Cortez, Stanley, A.S.C. — "Tri-X In Feature Film Pro¬
duction": 33.
D
Daniels, William, A.S.C. — "Photography At 40,000
Feet": 532.
Daugherty, Frank — "The Cinematographer and thee
Independent": 344.
— "Shooting the Entire Picture on Location": 474.
Dunning, Carroll — -"Time-lapse Cinematography": 228.
F
Fachman, L. F. — "A Parallax-correcting Viewfinder
for 16mm Cameras": 415.
Flitters, Norman E. — "Bugs In is Lenses": 418.
Folsey, George, A.S.C. — "The Filming Of 'Forbidden
Planet' ": 460.
Forbes, John — -"Origin of the American Cinematog¬
rapher Handbook": 400.
December, 1955 •
737
ANNUAL INDEX . . . Continued
Foster, Frederick — "The Big Switch is to TV!": 26.
— " 'Six Bridges to Cross' — Suspense in Black-
and-white": 78.
— "CameraVision — New Video-film System for
Feature Production": 340.
— "Artistic Honesty in Cinematography": 403.
— "Innovations Highlight New S6 Magnetic Re¬
corder": 536.
— "Swan Song Of India": 658.
Fritz, Frank P. — "Exposure Determination For Vari¬
able Shutter Speeds ": 524.
G
Gavin, Arthur E. — "Technical Progress in 1954": 24.
— "The Photography of 'East of Eden' ": 149:
— "CinemaScope on 55mm Film”: 582.
Gray, Bob— "The Use of 'Existing Light' In News¬
reel Photography": 648.
H
Handley, Charles — "The New Yellow Flame Carbons":
464.
Harrington, Clifford B. — "Filming A Prize-winner":
538.
— "Our Movie On TV": 227.
— "Filming With Filmorama": 718.
Herbert, Charles W. — "Travelogues Offer Filming
Challenge": 36.
Hockman, Ned — "Motion Picture Production at the
University of Oklahoma": 86.
Hoke, John — "Adapting Zoomar Lens to Auricon-
Pro": 28.
Holm, Wilton R. — -"Splicing Motion Picture Film with
Tape": 151.
Howe, C. M. — "A Plea to Congress via Film": 224.
J
Jewell, Ray — "Filming a 'Round-the-world Cruise":
276.
L
Lightman, Herb A. — "Shooting 'Oklahoma' in Todd-
AO": 210.
— "Filming Auto Race Thrills For "The Racers":
272.
— "Filming Blackboard Jungle' ": 334.
— "The Photography of ‘Not As A Stranger' ":
396.
Lodge, William B. — -"Color-Television Film Shooting
Practices": 142.
Loring, Charles — "Point of View Is Important": 92.
— "Camera Tricks": 160.
— "Suiting the Lens to the Scene": 213.
— "Cine Camera Tricks": 226.
— "Use of Filters in Cinematography": 348.
— "Use of Miniatures in 16mm Films": 412.
— Set Lighting For Commercial Films": 467.
— "Use of Effect Lighting In Commercial Film
Production": 710.
P
Palen, Vern W. — "Animation Major Factor In Pro¬
duction of TV Ad Films": 588.
Pett, Dennis W. — "This College Campus Film Crew
Makes Training Films": 282.
Pizzo, Nadine — “The Drama of Color": 720.
R
Ramsey, Walter — "Makeup Magic For Today's Color
Films": 526.
Rescher, Arthur — "Laminated Magnetic Sound Tracks
For 16mm Films”: 154.
Riggins, Dean — "Shooting Movies from The Air”: 540.
Roe, Alvin D. — "A Coupled Range Finder For Cine
Cameras": 480.
Roh, Frank J. Jr., — "Movie Studio In A Truck": 714.
Rose, Jackson J., A.S.C. — "Your Questions": 696.
Rowan, Arthur — "A Problem In Lighting": 222.
— "Universal- International Introduces New Cam¬
era and Location Truck”: 404.
— "So, You Want To Be A Hollywood Camera¬
man": 657.
— "A Magnetic Sound Recording Camera": 338.
S
Schillios, R. Harlow — "Movies In Law Enforcement":
463.
Simon, Al — "The Video Film Camera": 140.
Smith, Arthur H. — "Low Budget Training Film Pro¬
duction": 30.
Smith, Tom Frazier — "Film Unit Operation in the
Small TV Station ": 144.
T
Tover, Leo, A.S.C. — "Shooting The Big Scenes For
"The Tall Men" ": 644.
W
Wentzel, Glenn — "An All-film Television Station":
203.
Wildi, Ernst — "Combining Black-and-white With Col¬
or": 288.
Winsor, Roanna . — "So You Want To Shoot In-
diansl' ": 90.
Z
Zeper, Roy — "Filming For Philco": 592.
INDEX BY PAGE NUMBERS
Page
6 — Hollywood Bulletin Board
10— What's New In Equipment, Accessories, Services
16 — Industry News
22 — Booklets, Catalogs, Brochures
24 — Technical Progress in 1954
27 — The Big Switch Is To TVI
28 — Adapting The Zoomar Lens To The Auricon-Pro
30 — Low Budget Training Film Production
33 — Tri-X Feature Film Production
34 — Movies Without A Camera
36 — Travelogues Offer Filming Challenge
46 — Hollywood Studio Production
58 — Hollywood Bulletin Boad
62 — What's New In Equipment, Accessories, Service
68 — Hollywood Bulletin Board
74 — Industry News
78 — "Six Bridges To Cross" — Suspense in Black-
and-white
80 — Visible Edge-numbering Of Film Aid To Editing
82 — The Role of the Camera
84 — Filming Battle Scenes for "Battle Cry"
86 — Motion Picture Production at The University of
Oklahoma
88 — Speed In Film Processing
90 — So You Want To Shoot Indians
92 — Point of View is Important
96 — Roster of American Society of Cinematographers
102 — Booklets, Catalogs, Brochures
106 — Hollywood Studio Production
118 — Hollywood Bulletin Board
124 — What's New In Equipment, Acessories, Services
128 — Catalogs and Brochures
132 — Industry News
136 — Hollywood Studio Production
139 — Oscar Nominees (For 1954)
140 — The Video-Film Camera
142 — Color-Television Film Shooting Practices
144 — Film Unit Operation in the Small TV Station
149 — The Photography of "East of Eden"
151 — Splicing Motion Picture Film With Tape
154 — Laminated Magnetic Sound Tracks for 16mm
Films
157 — The New "Auricon Pro-600"
158— Editing An Unscripted Movie
160 — Camera Tricks
172 — Spectra Meter Now Measures Color Temper¬
atures
174 — Animatic Timer For Time Lapse Photography
188 — Hollywood Bulletin Board
192 — Industry News
194 — Booklets, Catalogs, Brochures
198 — What's New In Equipment, Accessories, Service
203 — An All-film Television Station
206 — Academy Award Winners (For 1954)
208 — Golden Globe and Look Award Winners
209 — An "Emmy" For Cinematography
210 — Shooting "Oklahoma" in Todd-AO
213 — Suiting The Lens To The Scene
214 — Experiments With The Camera
222 — A Problem In Lighting
224 — A Plea To Congress Via Film
226 — Cine Camera Tricks
227— — Our Movie On TV
228 — Time Lapse Cinematography
236 — The Smart, New 16mm Cine Kodak K-100
242 — Hollywood Studio Production
246 — Bell & Howell Announces New 16mm Lenses
254— Industry News
256 — Hollywood Bulletin Board
260 — What's New In Equipment, Accessories, Service
264 — A.S.C. Fetes Charter Members Arthur Edeson
and Victor Milner
272 — Filming Auto Race Thrills For "The Racers"
275 — Cinematography In Parachute Research
276— Filming A "Round-the-World Cruise
278 — Something New In Camera Cranes
280 — "Electronicam" — DuMont's New Dual-recording
TV-Film Camera
281 — Photographing The 1955 Mobilgas Economy Run
282— — This College Campus Film Crew Makes Training
Films
285 — Defining Optical Definitions
286 — Small Subjects, Big Closeups
288 — Combining Black-and-white with Color
301- — Catalogs and Brochures
302 — Hollywood Studio Production
INDEX GUIDE
To locate
the issue in which an article op-
pears compare the page number given In
the index
with the page numbers below:
Month
Page Numbers
January
. 1 to 52
February .
. 53 to 112
March .
. 113 to 180
April .
. 181 to 248
May .
. 249 to 308
June .
. 309 to 372
July .
. 373 to 440
August
. 441 to 500
September
. . 501 to 560
October
. 561 to 620
November
. 621 to 684
December
. 685 to 739
304 — Print Dryer Makes Rolling Titles
306 — 20th-Fox Develops "Zoom" Spotlight
314 — Industry News
316 — Hollywood Bulletin Board
320 — What's New In Equipment, Accessories, Service
326 — Booklets, Catalogs, Brochures
332 — The Trend To Wider Motion Picture Negatives
334 — Filming "Blackboard Jungle"
336 — CinemaScope Photographic Techniques
338 — A Magnetic Sound Recording Camera
340 — CameraVision — New Video-Film System For Fea¬
ture Production
342 — New Animation and Title Equipment
344 — The Cinematographer and The Independent
347 — Newsreel Cameraman of the Year
348 — Use of Filters in Cinematography
351 — Shooting Double-system Sound With A Single¬
system Camera
366 — Hollywood Studio Production
378 — Industry News
382 — Hollywood Bulletin Board
386 — What's New in Equipment, Accessories, Services
392 — Old Time Movies Restored
396 — The Photography of "Not As A Stranger"
398 — After the Last Shot is Made
400 — Origin of the American Cinematographer
Handbook
403 — Artistic Honesty In Cinematography
404 — Universal-International Introduces New Camera
and Location Truck
408 — Newsfilm Tailored for Television
412 — The Use of Miniatures in 16mm Films
415 — A Parallax-correcting Viewfinder for 16mm
Cameras
416 — Why A Shooting Script?
418 — Bugs In His Lensesl
422 — Roster of American Society of Cinematographers
432 — Byron Installing Color Film Processor
434 — Hollywood Studio Production
446 — Industry News
450 — What's New In Equipment, Accessories, Service
452 — Magnasync Sponsoring Educational Contest
458 — Hollywood Bulletin Board
460 — Filming of "Forbidden Planet"
463 — Movies In Law Enforcement
464 — The New Yellow Flame Carbons
467 — Set Lighting For Commercial Films
471 — Guts, Vision — Crying Needs to Rejuvenate
Newsreels
474 — Shooting the Entire Picture on Location
476 — Eleven Cameras for Circarama
478 — Say Something Extra With Sound
480 — A Coupled Range Finder for Cine Cameras
488 — Kodak Aannounces Tri-X 16mm Reversal
490 — New Automatic Shifting Shutter on Kodascope
Pageants
494 — Hollywood Studio Production
496 — Kinevox, Inc., Builds Disneyland Exhibit Controls
508 — Hollywood Bulletin Board
510- — What's New In Equipment, Accessories, Service
520 — Industry News
524 — Exposure Determination For Variable Shutter
Speeds
526 — Makeup Magic for Today's Color Films
531 — Pre-printing Preparation of 16mm Films
532 — Photography at 40,000 Feet
534 — Filming "Th African Lion"
536 — Innovations Highlight New S6 Magnetic Recorder
538 — Filming a Prize-winner
540 — Shooting Movies From The Air
554 — Hollywood Studio Production
568 — What's New In Equipment, Accessories, Services
572 — Industry News
574 — Hollywood Bulletin Board
582 — CinemaScope on 55mm Film
584 — Gleason Goes "Live on Film"
586 — Preparation of 16mm Printing Leaders
588 — Animation Major Factor in Production of TV
Ad Films
591 — The Superscope Process
592 — Filming For Philco
595 — Filming The Birth of a New Automobile
596 — Time Lapse Transitions
597 — The Case for Hand-lettered Titles
606 — Anscochrome Now Available in 16mm
614 — Hollywood Studio Production
628 — What's New In Equipment, Accessories, Service
630 — Hollywood Bulletin Board
638 — Turning Back The Clock To Scenes of Yesteryear
644 — Shooting The Big Scenes for "The Tall Men"
646 — "Toughest, Thinnest Film"
648 — The Use of "Existing Light" In Newsreel
Photography
650 — The Industrial Cinematographer
654 — Summary of Current Wide-Screen Systems of
Photography
657 — So, You Want to Be a Hollywood Cameraman
658 — Swan Song of India
660 — New Kodak Cine Cameras Simplify Movie
Making
662 — Synchronized Sound With Any Silent Projector
678 — Hollywood Studio Production
690 — What's New In Equipment, Accessories, Service
694 — oily wood Bulletin Board
696 — Your Questions Answered by Jackson J. Rose,
A.S.C.
700 — Booklets, Catalogs, Brochures
705 — Five eteran Cinematographers Honored With
"George" Awards
706 — And Now 55mm
710 — Use of Effect Lighting in Commercial Film Pro¬
duction
713 — New Lightweight VistaVision Camera
714 — Movie Studio In A Truck
717- — Magnetic Recording for Auricon Cameras
718 — Filming With Filmorama
720 — The Drama of Color
732 — Hollywood Studio Production
738
American Cinematographer
December, 1955
Even when your light meter seems to have to strain
to measure the available light from the scene you
want, you can count on new Cine- Kodak Tri-X Film
to see all, get all — without the delay, without the
bother, of setting up extra lighting.
That means movies as they happen — with un¬
posed, unsquinting naturalness — not a gesture or a
moment lost. Tri-X speed is plain phenomenal: 200
Daylight gives you those after-sundown scenes; 160
Tungsten (less than the lamp beside your reading
chair) lets you get indoor shots otherwise requiring
considerable lighting equipment!
Tri-X gives good movie quality, too. Its speed
lets you stop down for real depth of field. There’s
less graininess than with your present Super-XX
Film. Scenes are sharp and clear. Highlights are
brilliant. Blacks are dense, rich black. The impor¬
tant middle tones are all there.
This is reversal film which, after processing, gives
a positive image for projection. If you need dupli¬
cates, you can ha-m them with little sacrifice of
sharpness. Reversal processing of this film is quite
simple and is readily available from independent
processing laboratories. No Kodak processing serv¬
ice is therefore provided. (It’s also available in
negative film, if you plan to make several prints.)
Try it — and you’ll find yourself capturing scenes
for your movies that you didn’t know were there!
New Cine-Kodak Tri-X C-P Reversal Film is
now available at or through most Kodak dealers.
When your meter reads like this.. .
you’ll get the scene with new
Cine-Kodak Tri-X C-P Reversal
Prices include Federal Tax where applicable and are subject to change without notice.
Cine-Kodak Tri-X C-P Reversal Film available- 16mm. with single
or double perforations — 100-ft. roll on camera spool, $4.85; 200-ft.
roll, $8.25; 400-ft. roll, for darkroom loading, $15.45. Prices do not in¬
clude processing.
EASTMAN KODAK COMPANY, Rochester 4-, N.Y.
color harmony
prints . . . .
You’ll also
have production harmony
every time you schedule
these Byron 16mm facilities:
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titling
animation
editing
sound effects
recording
location photography
music library
sound stage
complete black-and-white
laboratory facilities
precision magnetic striping
Quality conscious? Byron color-correct prints are
what you want. Get duplicate prints processed
with exacting fidelity — color prints in balance that
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'
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